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"content": "\u003cp>One of my favorite FFs is the \u003ca href=\"http://www.asianamericanfilmfestival.org/\" target=\"offsite\" rel=\"noopener\">San Francisco International Asian American Film Festival\u003c/a> (SFIAFF). There’s definitely something for everyone in this FF. Here are my suggestions:\u003c/p>\n\u003cp>Dude flick: \u003cb>Baby\u003c/b>\u003cbr>Sex, drugs and violence. Think \u003cb>Reservoir Dogs\u003c/b> with a teenage gangsta Asian American spin. Prolific actor Tzi Ma (Catfish in \u003cb>Black Bean Sauce\u003c/b>) plays the role of the alcoholic father in this story of revenge in East LA. Another very stylish film for the boyz is \u003cb>Undoing\u003c/b>, which is very noiresque. This is a great comeback film after almost a decade since Chris Chan Lee’s last film, \u003cb>Yellow\u003c/b>. However, I got a little lost in parts but enjoyed that it was a story with AA characters but seemingly without AA (Asian American) themes.\u003c/p>\n\u003cp>Date movie: \u003cb>The Trouble with Romance\u003c/b>\u003cbr>Don’t be fooled by the name, this movie is a romantic comedy with a little something for men and women. Basically, it’s 4 stories deconstructing relationships in different rooms within the same hotel. \u003cb>Trouble\u003c/b> got a few extra points in my book since it had David Eigenberg, who plays the role of Steve in \u003cb>Sex and the City\u003c/b> — he’s not AA but whatever, I still loved that show. By the name you might think that \u003cb>Shanghai Kiss\u003c/b> might be a better bet for a romantic night out. It’s well done and pretty slick by Hollywood standards, but personally, I couldn’t get over the fact that the main romance occurred between a 16-year-old genius girl and a 28-year-old emotionally stunted man. Not hot in my book. No matter how hard the film tries to justify the age difference, it’s just plain “eewww.”\u003c/p>\n\u003cp>History Buffs: \u003cb>Hollywood Chinese\u003c/b>\u003cbr>I haven’t seen this flick yet, but it’s in my “Top 10.” The story behind this film is that in researching the history of Asian Americans in film for this documentary, director Arthur Dong found 2 reels of what has recently been dubbed the earliest Asian American film ever made, \u003cb>Curse of Quan Gwon\u003c/b>, which was made in 1916 and directed by female director, Marion Wong — ground breaking! There will also be a special screening of the entire 35 minutes of found footage and will be the first time that it will be screened.\u003c/p>\n\u003cp>Hollywood Fans: \u003cb>Dark Matter\u003c/b>\u003cbr>This film directorial debut from Chinese opera director Chen Shi-Zheng is based on a true story. That should be enough of a clue for you to figure out that it’s not the typical Hollywood happy ending. I’m just suggesting this one for those that are into Hollywood flicks, due to the fact that Meryl Streep is in it. And I would see any movie with Meryl in it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tearjerker Doc Fans: \u003cb>New Year Baby\u003c/b>\u003cbr>I’m not recommending this documentary because KQED is sponsoring its screening, but because there are definitely those who attend the SFIAAFF in order to see touching personal stories that are real. This is the one for those tissue-toting types. Filmmaker Socheata Poeuv returns to Cambodia with her parents after they make a startling admission about their family. Their voyage reveals a deeper story than Poeuv had anticipated.\u003c/p>\n\u003cp>Chick Flick: \u003cb>Tie a Yellow Ribbon\u003c/b>\u003cbr>I fell in love with director Joy Dietrich’s haunting short, \u003cb>Surplus\u003c/b>, so this first feature by her was top on my list. I had problems with how heavy-handed the stereotypes and AA issues were in this film, but it does address the often-ignored, yet abnormally high rate of suicide and depression among AA women. For a first feature, it’s worth a see.\u003c/p>\n\u003cp>Here’s one of the lists I promised in \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=14360\">part one\u003c/a>: Returning SFIAAFF directors:\u003cbr>• Arthur Dong, \u003cb>Hollywood Chinese\u003c/b>, directed \u003cb>Sewing Woman\u003c/b> (SFIAAFF 82), which was just screened at SFMOMA in February 2007; \u003cb>Coming Out Under Fire\u003c/b> (SFIAAFF 96)\u003c/p>\n\u003cp>• Dai Sil Kim-Gibson, \u003cb>Motherland\u003c/b>, directed \u003cb>A Forgotten People, The Sakhalin Koreans\u003c/b> (SFIAAFF 95), \u003cb>Sa-I-Gu: From Korean Women’s Perspectives\u003c/b> (SFIAAFF 93), \u003cb>Silence Broken: Korean Comfort Women\u003c/b> (SFIAAFF 99), \u003cb>Wet Sand: Voices from L.A. Ten Years After\u003c/b> (SFIAAFF 03)\u003c/p>\n\u003cp>• Chris Chan Lee, \u003cb>Undoing\u003c/b>, directed \u003cb>Yellow\u003c/b> (SFIAAFF 97)\u003c/p>\n\u003cp>• Hong Sang-Soo directed \u003cb>Virgin Stripped Bare By Her Bachelors\u003c/b>, which also screened at SFIAAFF 01. For this year’s FF they have given him a retrospective, which includes 7 of his features, so I assume that there are more that screened at previous SFIAAFF but this is the only one off the top of my head that I’m sure of.\u003c/p>\n\u003cp>• Joy Dietrich, \u003cb>Tie a Yellow Ribbon\u003c/b>, directed \u003cb>Surplus\u003c/b> (SFIAAFF 01)\u003c/p>\n\u003cp>• Gene Rhee, \u003cb>The Trouble with Romance\u003c/b>, directed \u003cb>The Quest for Length\u003c/b> (SFIAAFF 02)\u003c/p>\n\u003cp>• Justin Lin, \u003cb>Finishing the Game\u003c/b> directed \u003cb>Better Luck Tomorrow\u003c/b> (SFIAAFF 02)\u003c/p>\n\u003cp>• Romeo Candido, \u003cb>Ang Pamana: The Inheritance\u003c/b>, directed \u003cb>Lolo’s Child\u003c/b> (SFIAAFF 02), \u003cb>Rolling Longaniza\u003c/b> (SFIAAFF 06)\u003c/p>\n\u003cp>• Paul Mayeda Berges, \u003cb>Mistress of Spices\u003c/b>, technically \u003cb>Mistress\u003c/b> is Berges’ directorial debut, but he produced and co-wrote \u003cb>Bend It Like Beckham\u003c/b> (SFIAAFF 03) with his wife Gurinder Chadha. Interesting tidbit: Berges was a director of the SFIAAFF when he met Chadha.\u003c/p>\n\u003cp>• Eric Byler, \u003cb>Tre\u003c/b>, directed \u003cb>Charlotte Sometimes\u003c/b> (SFIAAFF 03), \u003cb>Americanese\u003c/b> (SFIAAFF 06)\u003c/p>\n\u003cp>• Grace Lee, \u003cb>American Zombie\u003c/b>, directed \u003cb>The Grace Lee Project\u003c/b> (SFIAAFF 05)\u003c/p>\n\u003cp>Ok, you’ve read this far, so I’ll give you my “Top 10” (after all the previews I’ve seen which I suppose is cheating since I saw 10). Disclaimer: My list is always subject to change up until I actually get to the box office to buy the tix:\u003cbr>1.\t\u003cb>Finishing the Game\u003c/b> screening March 15 at 7pm at the Castro Theatre — For this comedy spoof Justin Lin brings back his ensemble from \u003cb>Better Luck Tomorrow\u003c/b> minus John Cho but plus Dustin Nguyen from one of my all time favorite shows \u003cb>21 Jump Street\u003c/b>. Now that’s hot!\u003cbr>2.\t\u003cb>Pavement Butterfly\u003c/b> screening March 18 at 12:30pm at the Castro Theatre — This 1929 silent film stars the famed Anna Mae Wong and is rarely screened.\u003cbr>3.\t\u003cb>Hollywood Chinese\u003c/b> screening March 18 at 6pm at the Castro Theatre — See notes above.\u003cbr>4.\t\u003cb>In Between Days\u003c/b> screening March 16 at 7pm at Berkeley’s PFA and March 17 at 2:30pm at AMC Van Ness Theatres — Pure gut selection\u003cbr>5.\t\u003cb>Year of the Fish\u003c/b> screening March 16 at 9:15pm at AMC Van Ness Theatres, March 21 at 7pm at Landmark Opera Plaza Cinema, and March 25 at 9:30pm at San Jose’s Camera 12 Cinemas — I’m a sucker for animation, and this one is like Richard Linklater’s \u003cb> Waking Life\u003c/b> and \u003cb> A Scanner Darkly\u003c/b>, in which each live-action frame is painted. \u003cbr>6.\t\u003cb>Exiled\u003c/b> screening March 21 at 9:15pm at AMC Van Ness Theatres — This is the latest action flick by Hong Kong director Johnnie To, whose 1991 film \u003cb>The Mission\u003c/b>, made me question my loyalty to Quentin Tarantino.\u003cbr>7.\t\u003cb>Umrao Jaan\u003c/b> screening March 18 at 8:30pm at the Castro Theatre — A Bollywood film with Aishwarya Rai, who has been called the most beautiful actress in the world. At the Castro Theater. Priceless.\u003cbr>8.\t\u003cb>Flower Drum Song\u003c/b> screening March 17 at 9pm at the Castro Theatre — This special screening is a sing-along. What Bay Area straight chick or tranny doesn’t know “I Enjoy Being a Girl”?\u003cbr>9.\t\u003cb>Music Video Asia 2007\u003c/b> screening March 20 at 9:30pm at AMC Van Ness Theatres — This annual shorts program shows music videos from Asian and AA bands. Totally rockin!\u003cbr>10.\t\u003cb>The Great Happiness Space\u003c/b> screening March 18 at 9:30pm at AMC Van Ness Theatres, March 23 at 7pm at PFA, and March 25 at 12pm at Camera 12 Cinemas — What? A documentary on Japanese twenty-something male escorts, sign me up.\u003c/p>\n\u003cp>The San Francisco International Asian American Film Festival runs March 15-25, 2007 with screenings in San Francisco, Berkeley and San Jose. \u003ca href=\"http://www.asianamericanfilmfestival.org/2007/films-events/\" target=\"offsite\" rel=\"noopener\">Get tickets and information\u003c/a> (at asianamericanfilmfestival.org).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Check out \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=14360\">part one\u003c/a> of this two part post.\u003c/p>\n\n",
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"excerpt": "\u003cb>San Francisco International Asian American Film Festival -- What To See\u003c/b> (part two of two)\u003cp>One of my favorite FFs is the \u003ca href=\"http://www.asianamericanfilmfestival.org/\" target=\"offsite\" rel=\"noopener\">San Francisco International Asian American Film Festival\u003c/a> (SFIAFF). There's definitely something for everyone in this FF. Here are my suggestions:\u003c/p>\u003cp>Dude flick: \u003cb>Baby, sex, drugs and violence\u003c/b>\u003cbr />Think Reservoir Dogs with a teenage gangsta Asian American spin. Prolific actor Tzi Ma (Catfish in \u003cb>Black Bean Sauce\u003c/b>) plays the role of the alcoholic father in this story of revenge in East LA. Another very stylish film for the boyz is \u003cb>Undoing\u003c/b>, which is very noiresque. This is a great comeback film after almost a decade since Chris Chan Lee's last film, \u003cb>Yellow\u003c/b>. However, I got a little lost in parts but enjoyed that it was a story with AA characters but seemingly with out AA (Asian American) themes.\u003c/p>",
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"description": "San Francisco International Asian American Film Festival -- What To See (part two of two)One of my favorite FFs is the San Francisco International Asian American Film Festival (SFIAFF). There's definitely something for everyone in this FF. Here are my suggestions:Dude flick: Baby, sex, drugs and violenceThink Reservoir Dogs with a teenage gangsta Asian American spin. Prolific actor Tzi Ma (Catfish in Black Bean Sauce) plays the role of the alcoholic father in this story of revenge in East LA. Another very stylish film for the boyz is Undoing, which is very noiresque. This is a great comeback film after almost a decade since Chris Chan Lee's last film, Yellow. However, I got a little lost in parts but enjoyed that it was a story with AA characters but seemingly with out AA (Asian American) themes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite FFs is the \u003ca href=\"http://www.asianamericanfilmfestival.org/\" target=\"offsite\" rel=\"noopener\">San Francisco International Asian American Film Festival\u003c/a> (SFIAFF). There’s definitely something for everyone in this FF. Here are my suggestions:\u003c/p>\n\u003cp>Dude flick: \u003cb>Baby\u003c/b>\u003cbr>Sex, drugs and violence. Think \u003cb>Reservoir Dogs\u003c/b> with a teenage gangsta Asian American spin. Prolific actor Tzi Ma (Catfish in \u003cb>Black Bean Sauce\u003c/b>) plays the role of the alcoholic father in this story of revenge in East LA. Another very stylish film for the boyz is \u003cb>Undoing\u003c/b>, which is very noiresque. This is a great comeback film after almost a decade since Chris Chan Lee’s last film, \u003cb>Yellow\u003c/b>. However, I got a little lost in parts but enjoyed that it was a story with AA characters but seemingly without AA (Asian American) themes.\u003c/p>\n\u003cp>Date movie: \u003cb>The Trouble with Romance\u003c/b>\u003cbr>Don’t be fooled by the name, this movie is a romantic comedy with a little something for men and women. Basically, it’s 4 stories deconstructing relationships in different rooms within the same hotel. \u003cb>Trouble\u003c/b> got a few extra points in my book since it had David Eigenberg, who plays the role of Steve in \u003cb>Sex and the City\u003c/b> — he’s not AA but whatever, I still loved that show. By the name you might think that \u003cb>Shanghai Kiss\u003c/b> might be a better bet for a romantic night out. It’s well done and pretty slick by Hollywood standards, but personally, I couldn’t get over the fact that the main romance occurred between a 16-year-old genius girl and a 28-year-old emotionally stunted man. Not hot in my book. No matter how hard the film tries to justify the age difference, it’s just plain “eewww.”\u003c/p>\n\u003cp>History Buffs: \u003cb>Hollywood Chinese\u003c/b>\u003cbr>I haven’t seen this flick yet, but it’s in my “Top 10.” The story behind this film is that in researching the history of Asian Americans in film for this documentary, director Arthur Dong found 2 reels of what has recently been dubbed the earliest Asian American film ever made, \u003cb>Curse of Quan Gwon\u003c/b>, which was made in 1916 and directed by female director, Marion Wong — ground breaking! There will also be a special screening of the entire 35 minutes of found footage and will be the first time that it will be screened.\u003c/p>\n\u003cp>Hollywood Fans: \u003cb>Dark Matter\u003c/b>\u003cbr>This film directorial debut from Chinese opera director Chen Shi-Zheng is based on a true story. That should be enough of a clue for you to figure out that it’s not the typical Hollywood happy ending. I’m just suggesting this one for those that are into Hollywood flicks, due to the fact that Meryl Streep is in it. And I would see any movie with Meryl in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tearjerker Doc Fans: \u003cb>New Year Baby\u003c/b>\u003cbr>I’m not recommending this documentary because KQED is sponsoring its screening, but because there are definitely those who attend the SFIAAFF in order to see touching personal stories that are real. This is the one for those tissue-toting types. Filmmaker Socheata Poeuv returns to Cambodia with her parents after they make a startling admission about their family. Their voyage reveals a deeper story than Poeuv had anticipated.\u003c/p>\n\u003cp>Chick Flick: \u003cb>Tie a Yellow Ribbon\u003c/b>\u003cbr>I fell in love with director Joy Dietrich’s haunting short, \u003cb>Surplus\u003c/b>, so this first feature by her was top on my list. I had problems with how heavy-handed the stereotypes and AA issues were in this film, but it does address the often-ignored, yet abnormally high rate of suicide and depression among AA women. For a first feature, it’s worth a see.\u003c/p>\n\u003cp>Here’s one of the lists I promised in \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=14360\">part one\u003c/a>: Returning SFIAAFF directors:\u003cbr>• Arthur Dong, \u003cb>Hollywood Chinese\u003c/b>, directed \u003cb>Sewing Woman\u003c/b> (SFIAAFF 82), which was just screened at SFMOMA in February 2007; \u003cb>Coming Out Under Fire\u003c/b> (SFIAAFF 96)\u003c/p>\n\u003cp>• Dai Sil Kim-Gibson, \u003cb>Motherland\u003c/b>, directed \u003cb>A Forgotten People, The Sakhalin Koreans\u003c/b> (SFIAAFF 95), \u003cb>Sa-I-Gu: From Korean Women’s Perspectives\u003c/b> (SFIAAFF 93), \u003cb>Silence Broken: Korean Comfort Women\u003c/b> (SFIAAFF 99), \u003cb>Wet Sand: Voices from L.A. Ten Years After\u003c/b> (SFIAAFF 03)\u003c/p>\n\u003cp>• Chris Chan Lee, \u003cb>Undoing\u003c/b>, directed \u003cb>Yellow\u003c/b> (SFIAAFF 97)\u003c/p>\n\u003cp>• Hong Sang-Soo directed \u003cb>Virgin Stripped Bare By Her Bachelors\u003c/b>, which also screened at SFIAAFF 01. For this year’s FF they have given him a retrospective, which includes 7 of his features, so I assume that there are more that screened at previous SFIAAFF but this is the only one off the top of my head that I’m sure of.\u003c/p>\n\u003cp>• Joy Dietrich, \u003cb>Tie a Yellow Ribbon\u003c/b>, directed \u003cb>Surplus\u003c/b> (SFIAAFF 01)\u003c/p>\n\u003cp>• Gene Rhee, \u003cb>The Trouble with Romance\u003c/b>, directed \u003cb>The Quest for Length\u003c/b> (SFIAAFF 02)\u003c/p>\n\u003cp>• Justin Lin, \u003cb>Finishing the Game\u003c/b> directed \u003cb>Better Luck Tomorrow\u003c/b> (SFIAAFF 02)\u003c/p>\n\u003cp>• Romeo Candido, \u003cb>Ang Pamana: The Inheritance\u003c/b>, directed \u003cb>Lolo’s Child\u003c/b> (SFIAAFF 02), \u003cb>Rolling Longaniza\u003c/b> (SFIAAFF 06)\u003c/p>\n\u003cp>• Paul Mayeda Berges, \u003cb>Mistress of Spices\u003c/b>, technically \u003cb>Mistress\u003c/b> is Berges’ directorial debut, but he produced and co-wrote \u003cb>Bend It Like Beckham\u003c/b> (SFIAAFF 03) with his wife Gurinder Chadha. Interesting tidbit: Berges was a director of the SFIAAFF when he met Chadha.\u003c/p>\n\u003cp>• Eric Byler, \u003cb>Tre\u003c/b>, directed \u003cb>Charlotte Sometimes\u003c/b> (SFIAAFF 03), \u003cb>Americanese\u003c/b> (SFIAAFF 06)\u003c/p>\n\u003cp>• Grace Lee, \u003cb>American Zombie\u003c/b>, directed \u003cb>The Grace Lee Project\u003c/b> (SFIAAFF 05)\u003c/p>\n\u003cp>Ok, you’ve read this far, so I’ll give you my “Top 10” (after all the previews I’ve seen which I suppose is cheating since I saw 10). Disclaimer: My list is always subject to change up until I actually get to the box office to buy the tix:\u003cbr>1.\t\u003cb>Finishing the Game\u003c/b> screening March 15 at 7pm at the Castro Theatre — For this comedy spoof Justin Lin brings back his ensemble from \u003cb>Better Luck Tomorrow\u003c/b> minus John Cho but plus Dustin Nguyen from one of my all time favorite shows \u003cb>21 Jump Street\u003c/b>. Now that’s hot!\u003cbr>2.\t\u003cb>Pavement Butterfly\u003c/b> screening March 18 at 12:30pm at the Castro Theatre — This 1929 silent film stars the famed Anna Mae Wong and is rarely screened.\u003cbr>3.\t\u003cb>Hollywood Chinese\u003c/b> screening March 18 at 6pm at the Castro Theatre — See notes above.\u003cbr>4.\t\u003cb>In Between Days\u003c/b> screening March 16 at 7pm at Berkeley’s PFA and March 17 at 2:30pm at AMC Van Ness Theatres — Pure gut selection\u003cbr>5.\t\u003cb>Year of the Fish\u003c/b> screening March 16 at 9:15pm at AMC Van Ness Theatres, March 21 at 7pm at Landmark Opera Plaza Cinema, and March 25 at 9:30pm at San Jose’s Camera 12 Cinemas — I’m a sucker for animation, and this one is like Richard Linklater’s \u003cb> Waking Life\u003c/b> and \u003cb> A Scanner Darkly\u003c/b>, in which each live-action frame is painted. \u003cbr>6.\t\u003cb>Exiled\u003c/b> screening March 21 at 9:15pm at AMC Van Ness Theatres — This is the latest action flick by Hong Kong director Johnnie To, whose 1991 film \u003cb>The Mission\u003c/b>, made me question my loyalty to Quentin Tarantino.\u003cbr>7.\t\u003cb>Umrao Jaan\u003c/b> screening March 18 at 8:30pm at the Castro Theatre — A Bollywood film with Aishwarya Rai, who has been called the most beautiful actress in the world. At the Castro Theater. Priceless.\u003cbr>8.\t\u003cb>Flower Drum Song\u003c/b> screening March 17 at 9pm at the Castro Theatre — This special screening is a sing-along. What Bay Area straight chick or tranny doesn’t know “I Enjoy Being a Girl”?\u003cbr>9.\t\u003cb>Music Video Asia 2007\u003c/b> screening March 20 at 9:30pm at AMC Van Ness Theatres — This annual shorts program shows music videos from Asian and AA bands. Totally rockin!\u003cbr>10.\t\u003cb>The Great Happiness Space\u003c/b> screening March 18 at 9:30pm at AMC Van Ness Theatres, March 23 at 7pm at PFA, and March 25 at 12pm at Camera 12 Cinemas — What? A documentary on Japanese twenty-something male escorts, sign me up.\u003c/p>\n\u003cp>The San Francisco International Asian American Film Festival runs March 15-25, 2007 with screenings in San Francisco, Berkeley and San Jose. \u003ca href=\"http://www.asianamericanfilmfestival.org/2007/films-events/\" target=\"offsite\" rel=\"noopener\">Get tickets and information\u003c/a> (at asianamericanfilmfestival.org).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=14360\">part one\u003c/a> of this two part post.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFIAAFF - A How-to Guide",
"headTitle": "SFIAAFF – A How-to Guide | KQED",
"content": "\u003cp>\u003cb>San Francisco International Asian American Film Festival — A How-to Guide\u003c/b> (Part one of two)\u003c/p>\n\u003cp>I confess: I am a film festival junkie. I’m going to use “FF” for said drug for the remainder of this review, since I’m also admittedly lazy, which adds to my neurosis — how many lazy nearly-obsessive-compulsives do you know? No need to answer. But back to FFs, if you live in the San Francisco Bay area, there is practically a different film festival each and every week to get your fix.\u003c/p>\n\u003cp>I’ve managed to keep my habit in check by being selective as to which FFs I will devote time to, since it got so bad at one point that it interfered with that daily obligation called a “job.” So now, when a FF I deem worthy rolls into town, I rush out to get the catalog no matter how harrowing the MUNI trek may be, since viewing the program online just isn’t good enough for me — and yes, that’s coming from someone who works on the world wide interweb for a living.\u003c/p>\n\u003cp>Once I have the prized possession and have given it a good sniff (I told you that I had a problem), I peruse the festival catalog with Post-Its handy to mark all the films I hope to see. After that, I go through the program a second time, weeding out the films I might have been overzealous in selecting on the first go round. By this time the list is usually still not manageable due to the above-mentioned job, so my next step is making a spreadsheet prioritizing films that I can actually see. This is where it all starts to get a bit hairy…\u003c/p>\n\u003cp>My general rule of thumb is to narrow my “must-see” list down to the amount of days of the actual FF, unless it’s just a weekend film festival in which case, the sky’s the limit, since I’m not averse to camping out at a theater all weekend. And I don’t put a limit on the “maybe” list, but that is prioritized too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ll try to explain my system, but it’s mostly just pure gut reaction, which is not always reliable. First, I tend to consider all sorts of questions like: Am I a big fan of a particular director or actor? Do I want the bragging rights of being one of first people to see a film if it’s a premiere? Premieres move up the list, as do opening and closing night films because of their glam-wannabe factor.\u003c/p>\n\u003cp>If I know that the film will be distributed in theaters after a FF, then it moves to the bottom. The same goes if I don’t tend to agree with the person who has written the film description for the catalog. If you go to enough film festivals, you notice that there are a limited number of folks who preview the films and write the blurbs. Like with local critics, you tend to get to know their taste over time and can develop a system based on how often you agree with them. Then there is schedule. For instance, if the film is #25 on my list, and it’s screening at midnight on a Monday, it pretty much gets moved to the “maybe, if I got free tickets” category.\u003c/p>\n\u003cp>One of my favorite FFs is the \u003ca href=\"http://www.asianamericanfilmfestival.org/\" target=\"offsite\" rel=\"noopener\">San Francisco International Asian American Film Festival\u003c/a> (SFIAFF). This March, they celebrate their 25th anniversary. I won’t go into detail about how bad my habit is, but I should divulge here that I actually worked for the organization that presents this particular FF (Center for Asian American Media, formerly known as NAATA) at one particularly low point in my life, which lasted four years.\u003c/p>\n\u003cp>It’s a very exciting year for SFIAAFF. There’s much too much to cover with 125 films and videos of which 41 are feature narratives, 14 feature documentaries and 68 shorts. So I’ve started a couple of lists (also see part two), based on the trends I noticed in this year’s program, to get the inner-film geek going — feel free to complete these lists on your own time: first, there are many directors who have had films screened at previous SFIAAFFs; and secondly, there seem to be a decent amount of actors appearing in more than one film in the festival.\u003c/p>\n\u003cp>What does this say about Asian American film? Was it planned or just coincidental? I have no idea. I’m not a film scholar — oh, I guess I should have mentioned that before you read this far. Oh well, but if I were to wager a guess, I would say that although it might seem like there is a dearth of Asian American actors, there isn’t. \u003cb>Baby\u003c/b>, a narrative feature in this FF, boasts casting more than 200 Asian and Asian American actors. I think that the multiple roles indicate that the stable of AA (Asian American) actors has become solid.\u003c/p>\n\u003cp>Think about it. If you were to ask people to name an AA actor 20 years ago, you might have gotten a blank stare and then maybe “Joan Chen,” based on her FOB (Fresh of the Boat) character “Josie” from the TV series \u003cb>Twin Peaks\u003c/b> or the guy who played Long Duk Dong in \u003cb>Sixteen Candles\u003c/b>, another FOB. Ask today and the list is pretty darn long — OK, maybe not exhaustively long, but it’s definitely got some substance and range. Lucy Lui, Ming-Na, Daniel Dae Kim, Kelly Hu, John Cho, Bobby Lee (who has a cameo in \u003cb>Undoing\u003c/b>, playing March 16 at 6:45pm at AMC Van Ness Theatres and March 19 at 9:30pm at Landmark Opera Plaza Cinema), and Sandra Oh (who is technically Asian Canadian) are just a few that maybe even the average middle-American can name.\u003c/p>\n\u003cp>On that note, here are some of the actors appearing in more than one feature-length film in SFIAAFF ’07:\u003c/p>\n\u003cp>• Aishwarya Rai — \u003cb>Mistress of Spices\u003c/b> and \u003cb>Umrao Jaan\u003c/b>\u003cbr>• James Hong — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Big Trouble in Little China\u003c/b> (yes, you read right. They are reviving this — what may be now considered kitsch — film from 1986 — maybe?)\u003cbr>• Kelly Hu — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Undoing\u003c/b>\u003cbr>• Ken Leung — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Year of the Fish\u003c/b>\u003cbr>• Byron Mann — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Dragon Boys\u003c/b>\u003cbr>• Roger Fan — \u003cb>Finishing the Game\u003c/b> and \u003cb>The Trouble with Romance\u003c/b>\u003cbr>• Sung Kang — \u003cb>Finishing the Game\u003c/b> and \u003cb>The Undoing\u003c/b>\u003cbr>• Tsai Chin — \u003cb>Year of the Fish\u003c/b>, \u003cb>Hollywood Chinese\u003c/b>, and \u003cb>Wendy Wu: Homecoming Warrior\u003c/b> (note: there is a free screening on March 17 at 12:15pm at AMC Van Ness Theatres)\u003cbr>• Tzi Ma — \u003cb>Baby\u003c/b> and \u003cb>Dragon Boys\u003c/b>\u003cbr>• Leonardo Nam — \u003cb>American Pastime\u003c/b>, \u003cb>Undoing\u003c/b>, and \u003cb>Finishing the Game\u003c/b>. That’s 3 feature films in this FF alone. Nam is the one to watch.\u003c/p>\n\u003cp>My list this year was even more complicated by the fact that I got a few preview screeners for this review and, most importantly, the usual SFIAAFF home base (Kabuki Theater) is different this year. Sundance recently bought the theater and is doing renovations. So the new festival hub will be at AMC 1000, with a few screenings at Opera Plaza and bigger ones at the Castro Theater. During busier hours, there will be shuttles from the Castro to Japantown for those who just can’t let go.\u003c/p>\n\u003cp>From the screeners that I received, the one gem was \u003cb>Air Guitar Nation\u003c/b> (which screens on March 18 at 7:15pm at AMC Van Ness Theatres and March 24 at 7:15pm at San Jose’s Camera 12 Cinemas). If you don’t get a chance to see any other film in this festival, you have to see this documentary. It’s a comedy that Christopher Guest would have made if the World Air Guitar Championship weren’t real, but it is. Seriously.\u003c/p>\n\u003cp>The San Francisco International Asian American Film Festival runs March 15-25, 2007 with screenings in San Francisco, Berkeley and San Jose. \u003ca href=\"http://www.asianamericanfilmfestival.org/2007/films-events/\" target=\"offsite\" rel=\"noopener\">Go get your own festival program\u003c/a> (at asianamericanfilmfestival.org) and come back tomorrow, Tuesday, March 12 to compare notes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Continued Tomorrow: Marie K. Lee’s \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=14362\">\u003cb>San Francisco International Asian American Film Festival: What to See\u003c/b>\u003c/a> (part two of two).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>San Francisco International Asian American Film Festival — A How-to Guide\u003c/b> (Part one of two)\u003c/p>\n\u003cp>I confess: I am a film festival junkie. I’m going to use “FF” for said drug for the remainder of this review, since I’m also admittedly lazy, which adds to my neurosis — how many lazy nearly-obsessive-compulsives do you know? No need to answer. But back to FFs, if you live in the San Francisco Bay area, there is practically a different film festival each and every week to get your fix.\u003c/p>\n\u003cp>I’ve managed to keep my habit in check by being selective as to which FFs I will devote time to, since it got so bad at one point that it interfered with that daily obligation called a “job.” So now, when a FF I deem worthy rolls into town, I rush out to get the catalog no matter how harrowing the MUNI trek may be, since viewing the program online just isn’t good enough for me — and yes, that’s coming from someone who works on the world wide interweb for a living.\u003c/p>\n\u003cp>Once I have the prized possession and have given it a good sniff (I told you that I had a problem), I peruse the festival catalog with Post-Its handy to mark all the films I hope to see. After that, I go through the program a second time, weeding out the films I might have been overzealous in selecting on the first go round. By this time the list is usually still not manageable due to the above-mentioned job, so my next step is making a spreadsheet prioritizing films that I can actually see. This is where it all starts to get a bit hairy…\u003c/p>\n\u003cp>My general rule of thumb is to narrow my “must-see” list down to the amount of days of the actual FF, unless it’s just a weekend film festival in which case, the sky’s the limit, since I’m not averse to camping out at a theater all weekend. And I don’t put a limit on the “maybe” list, but that is prioritized too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll try to explain my system, but it’s mostly just pure gut reaction, which is not always reliable. First, I tend to consider all sorts of questions like: Am I a big fan of a particular director or actor? Do I want the bragging rights of being one of first people to see a film if it’s a premiere? Premieres move up the list, as do opening and closing night films because of their glam-wannabe factor.\u003c/p>\n\u003cp>If I know that the film will be distributed in theaters after a FF, then it moves to the bottom. The same goes if I don’t tend to agree with the person who has written the film description for the catalog. If you go to enough film festivals, you notice that there are a limited number of folks who preview the films and write the blurbs. Like with local critics, you tend to get to know their taste over time and can develop a system based on how often you agree with them. Then there is schedule. For instance, if the film is #25 on my list, and it’s screening at midnight on a Monday, it pretty much gets moved to the “maybe, if I got free tickets” category.\u003c/p>\n\u003cp>One of my favorite FFs is the \u003ca href=\"http://www.asianamericanfilmfestival.org/\" target=\"offsite\" rel=\"noopener\">San Francisco International Asian American Film Festival\u003c/a> (SFIAFF). This March, they celebrate their 25th anniversary. I won’t go into detail about how bad my habit is, but I should divulge here that I actually worked for the organization that presents this particular FF (Center for Asian American Media, formerly known as NAATA) at one particularly low point in my life, which lasted four years.\u003c/p>\n\u003cp>It’s a very exciting year for SFIAAFF. There’s much too much to cover with 125 films and videos of which 41 are feature narratives, 14 feature documentaries and 68 shorts. So I’ve started a couple of lists (also see part two), based on the trends I noticed in this year’s program, to get the inner-film geek going — feel free to complete these lists on your own time: first, there are many directors who have had films screened at previous SFIAAFFs; and secondly, there seem to be a decent amount of actors appearing in more than one film in the festival.\u003c/p>\n\u003cp>What does this say about Asian American film? Was it planned or just coincidental? I have no idea. I’m not a film scholar — oh, I guess I should have mentioned that before you read this far. Oh well, but if I were to wager a guess, I would say that although it might seem like there is a dearth of Asian American actors, there isn’t. \u003cb>Baby\u003c/b>, a narrative feature in this FF, boasts casting more than 200 Asian and Asian American actors. I think that the multiple roles indicate that the stable of AA (Asian American) actors has become solid.\u003c/p>\n\u003cp>Think about it. If you were to ask people to name an AA actor 20 years ago, you might have gotten a blank stare and then maybe “Joan Chen,” based on her FOB (Fresh of the Boat) character “Josie” from the TV series \u003cb>Twin Peaks\u003c/b> or the guy who played Long Duk Dong in \u003cb>Sixteen Candles\u003c/b>, another FOB. Ask today and the list is pretty darn long — OK, maybe not exhaustively long, but it’s definitely got some substance and range. Lucy Lui, Ming-Na, Daniel Dae Kim, Kelly Hu, John Cho, Bobby Lee (who has a cameo in \u003cb>Undoing\u003c/b>, playing March 16 at 6:45pm at AMC Van Ness Theatres and March 19 at 9:30pm at Landmark Opera Plaza Cinema), and Sandra Oh (who is technically Asian Canadian) are just a few that maybe even the average middle-American can name.\u003c/p>\n\u003cp>On that note, here are some of the actors appearing in more than one feature-length film in SFIAAFF ’07:\u003c/p>\n\u003cp>• Aishwarya Rai — \u003cb>Mistress of Spices\u003c/b> and \u003cb>Umrao Jaan\u003c/b>\u003cbr>• James Hong — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Big Trouble in Little China\u003c/b> (yes, you read right. They are reviving this — what may be now considered kitsch — film from 1986 — maybe?)\u003cbr>• Kelly Hu — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Undoing\u003c/b>\u003cbr>• Ken Leung — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Year of the Fish\u003c/b>\u003cbr>• Byron Mann — \u003cb>Shanghai Kiss\u003c/b> and \u003cb>Dragon Boys\u003c/b>\u003cbr>• Roger Fan — \u003cb>Finishing the Game\u003c/b> and \u003cb>The Trouble with Romance\u003c/b>\u003cbr>• Sung Kang — \u003cb>Finishing the Game\u003c/b> and \u003cb>The Undoing\u003c/b>\u003cbr>• Tsai Chin — \u003cb>Year of the Fish\u003c/b>, \u003cb>Hollywood Chinese\u003c/b>, and \u003cb>Wendy Wu: Homecoming Warrior\u003c/b> (note: there is a free screening on March 17 at 12:15pm at AMC Van Ness Theatres)\u003cbr>• Tzi Ma — \u003cb>Baby\u003c/b> and \u003cb>Dragon Boys\u003c/b>\u003cbr>• Leonardo Nam — \u003cb>American Pastime\u003c/b>, \u003cb>Undoing\u003c/b>, and \u003cb>Finishing the Game\u003c/b>. That’s 3 feature films in this FF alone. Nam is the one to watch.\u003c/p>\n\u003cp>My list this year was even more complicated by the fact that I got a few preview screeners for this review and, most importantly, the usual SFIAAFF home base (Kabuki Theater) is different this year. Sundance recently bought the theater and is doing renovations. So the new festival hub will be at AMC 1000, with a few screenings at Opera Plaza and bigger ones at the Castro Theater. During busier hours, there will be shuttles from the Castro to Japantown for those who just can’t let go.\u003c/p>\n\u003cp>From the screeners that I received, the one gem was \u003cb>Air Guitar Nation\u003c/b> (which screens on March 18 at 7:15pm at AMC Van Ness Theatres and March 24 at 7:15pm at San Jose’s Camera 12 Cinemas). If you don’t get a chance to see any other film in this festival, you have to see this documentary. It’s a comedy that Christopher Guest would have made if the World Air Guitar Championship weren’t real, but it is. Seriously.\u003c/p>\n\u003cp>The San Francisco International Asian American Film Festival runs March 15-25, 2007 with screenings in San Francisco, Berkeley and San Jose. \u003ca href=\"http://www.asianamericanfilmfestival.org/2007/films-events/\" target=\"offsite\" rel=\"noopener\">Go get your own festival program\u003c/a> (at asianamericanfilmfestival.org) and come back tomorrow, Tuesday, March 12 to compare notes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What makes a film “independent?” From catch phrase to catch all, the term “independent” has ceased being descriptive. Most major studios have “independent” wings — once Disney bought Miramax, the jig was pretty much up. But we still like to think of independent films as wild things, plucky pictures that will surprise and shock. Nowadays those pleasant jolts are few and far between — there is a formula for “independent” films and those who abandon that formula are something else entirely. We haven’t yet come up with a term for them.\u003c/p>\n\u003cp>The San Francisco Independent Film Festival traffics in those films upon which the “independent” label sits uneasily. Most of the work they show isn’t safe or formulaic, and doesn’t belong to that former category of independents released through the above-mentioned Miramax, Sony Pictures Classics, Warner Brothers Independent, et al. These aren’t the overly-hyped little pictures with big stars feted every winter at Sundance, so what are they?\u003c/p>\n\u003cp>Well first off, there is the bizarre. The festival opens with David Lynch’s \u003cb>Inland Empire\u003c/b> and closes with \u003cb>Fido\u003c/b>, a zombie love story. Everyone knows that David Lynch has spent his life depicting the sinister and surreal hidden at the heart every small town. From \u003cb>Eraserhead\u003c/b> to \u003cb>Blue Velvet\u003c/b> to \u003cb>Twin Peaks\u003c/b>, Lynch has consistently produced stunning images alongside increasingly perplexing stories. He’s not always successful. I personally didn’t care much for the director’s last few movies, \u003cb>Lost Highway\u003c/b> and \u003cb>Mulholland Drive\u003c/b>, which seemed more like parodies of David Lynch films than actual David Lynch films. But \u003cb>The Straight Story\u003c/b> was perfection, so we know the master is alive and well and will at least provoke a response. I didn’t get to see \u003cb>Inland Empire\u003c/b> for this review, but by all accounts it’s as bizarre as one would expect. You’ll have to find out for yourself at the Castro Theater opening night, Thursday, Feb 8.\u003c/p>\n\u003cp>What I did see was a mixed bag. The festival provided a list of several works available for preview and I chose to watch three, so this is by no means a See’s sampler of what’s on offer at the fest, just the three that caught my eye. Two of them were documentaries, Karen Kramer’s \u003cb>The Ballad of Greenwich Village\u003c/b> and Tara Wray’s \u003cb>Manhattan, Kansas\u003c/b>. Kramer’s film is an overview of the history of New York’s Greenwich Village, including brief portraits of the interesting folk who lived there. The neighborhood has famously been home to a number of bohemian groups including the Beats in the fifties and the Folkies in the early sixties. The film cross cuts quite interesting modern portraits of contemporary residents with short pieces covering the almost 300-year history of the neighborhood. For those who have never heard of Greenwich Village, it’s a pretty good primer. For anyone who has, the film’s a bit of a snooze. I don’t know why I expected to see something new about ground that has been so thoroughly trod.\u003c/p>\n\u003cp>A few words about Tara Wray’s \u003cb>Manhattan, Kansas\u003c/b>: what’s the point? Wray has a problem with her obviously crazy mother, so she puts a camera in the poor woman’s face and tries to trap her into being as wacko as possible. Tara, honey, we’ve all got issues with our parents. Nobody is perfect. Your mom has an obvious imbalance of some kind. It affected you negatively growing up. You’re in therapy now, that’s good, but do you have to share it with the rest of us?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, and most satisfyingly, I previewed \u003cb>Mojave Phone Booth\u003c/b> and was pleasantly surprised. It reminded me of the early days, when independent films played in smelly art houses frequented by malcontents and ne’er-do-wells. \u003cb>Mojave Phone Booth\u003c/b> has “outsider” at the center of its soul. It’s a quartet of thinly-related stories that unfold in the desert and feature lost, yet searching characters whose lives are complicated by deception, depression and despair. All of the characters interact with a mysterious phone booth stuck out in the middle of the desert. Folks camp out by the booth waiting for the phone to ring. For some reason, they can tell the stranger at the other end of the line things one would only reveal to a trusted therapist.\u003c/p>\n\u003cp>I loved how intricately the stories in \u003cb>Mojave Phone Booth\u003c/b> ended up connecting. They are held together with tape, literally, audio and video. The quartet begins with Beth, who is obsessed with all the pieces of audio and video tape she finds blowing in the desert wind. It rolls along the ground and gets trapped in bushes and trees. Beth wonders what’s on the tape. Does it contain sad parts of other people’s lives or messages from some alien species dropping bits of tape onto the earth, just as our technology has moved beyond the ability to play it back? Beth is also dealing with commitment issues, which is a problem for most of the characters in the film. Mary loses her job and learns that her best friend is a prostitute. Alex’s lover Glory believes her body is covered with leach-like aliens from outer space and becomes involved with a man who claims to have a recording that will remove them. Richard can’t accept that his wife never really loved him and vows to make a video proving that she did.\u003c/p>\n\u003cp>\u003cb>Mojave Phone Booth\u003c/b> is deeply working class. Even though some of the situations sound a bit crazy, they are played straight — by pros. The cast is made up of actors who have been around for a long time (mostly on TV), actors one might think of more as journeymen than stars. Everyone is familiar and seems to be playing off of a “washed-up” quality, which is actually very important to the tone of the film. There is something weary about the characters, as if they are trying to stop acting, to free themselves from the scenario they are currently playing out. The cast seems to be using their own familiarity to capture that feeling. \u003cb>Mojave Phone Booth\u003c/b> reminded me of a Polaroid picture slowly being bleached out by the desert sun. There’s just one catch: \u003cb>Mojave Phone Booth\u003c/b> is screening Feb. 10 at 7pm and Feb 18 at 12 noon at the Victoria Theater (a venue that should be abandoned for film screenings as the sound there is so terrible.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The San Francisco Independent Film Festival runs February 8-20, 2007 at various Bay Area theaters. \u003ca href=\"http://www.sfindie.com/catalog\" target=\"offsite\" rel=\"noopener\">View the festival catalog\u003c/a> (at sfindie.com).\u003c/p>\n\n",
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"excerpt": "What makes a film \"independent?\" From catch phrase to catch all, the term \"independent\" has ceased being descriptive. Most major studios have \"independent\" wings -- once Disney bought Miramax, the jig was pretty much up. But we still like to think of independent films as wild things, plucky pictures that will surprise and shock. Nowadays those pleasant jolts are few and far between -- there is a formula for \"independent\" films and those who abandon that formula are something else entirely. We haven't yet come up with a term for them. \u003cp>The San Francisco Independent Film Festival traffics in those films upon which the \"independent\" label sits uneasily. Most of the work they show isn't safe or formulaic, and doesn't belong to that former category of independents released through the above-mentioned Miramax, Sony Pictures Classics, Warner Brothers Independent, et al. These aren't the overly-hyped little pictures with big stars feted every winter at Sundance, so what are they?\u003c/p> ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What makes a film “independent?” From catch phrase to catch all, the term “independent” has ceased being descriptive. Most major studios have “independent” wings — once Disney bought Miramax, the jig was pretty much up. But we still like to think of independent films as wild things, plucky pictures that will surprise and shock. Nowadays those pleasant jolts are few and far between — there is a formula for “independent” films and those who abandon that formula are something else entirely. We haven’t yet come up with a term for them.\u003c/p>\n\u003cp>The San Francisco Independent Film Festival traffics in those films upon which the “independent” label sits uneasily. Most of the work they show isn’t safe or formulaic, and doesn’t belong to that former category of independents released through the above-mentioned Miramax, Sony Pictures Classics, Warner Brothers Independent, et al. These aren’t the overly-hyped little pictures with big stars feted every winter at Sundance, so what are they?\u003c/p>\n\u003cp>Well first off, there is the bizarre. The festival opens with David Lynch’s \u003cb>Inland Empire\u003c/b> and closes with \u003cb>Fido\u003c/b>, a zombie love story. Everyone knows that David Lynch has spent his life depicting the sinister and surreal hidden at the heart every small town. From \u003cb>Eraserhead\u003c/b> to \u003cb>Blue Velvet\u003c/b> to \u003cb>Twin Peaks\u003c/b>, Lynch has consistently produced stunning images alongside increasingly perplexing stories. He’s not always successful. I personally didn’t care much for the director’s last few movies, \u003cb>Lost Highway\u003c/b> and \u003cb>Mulholland Drive\u003c/b>, which seemed more like parodies of David Lynch films than actual David Lynch films. But \u003cb>The Straight Story\u003c/b> was perfection, so we know the master is alive and well and will at least provoke a response. I didn’t get to see \u003cb>Inland Empire\u003c/b> for this review, but by all accounts it’s as bizarre as one would expect. You’ll have to find out for yourself at the Castro Theater opening night, Thursday, Feb 8.\u003c/p>\n\u003cp>What I did see was a mixed bag. The festival provided a list of several works available for preview and I chose to watch three, so this is by no means a See’s sampler of what’s on offer at the fest, just the three that caught my eye. Two of them were documentaries, Karen Kramer’s \u003cb>The Ballad of Greenwich Village\u003c/b> and Tara Wray’s \u003cb>Manhattan, Kansas\u003c/b>. Kramer’s film is an overview of the history of New York’s Greenwich Village, including brief portraits of the interesting folk who lived there. The neighborhood has famously been home to a number of bohemian groups including the Beats in the fifties and the Folkies in the early sixties. The film cross cuts quite interesting modern portraits of contemporary residents with short pieces covering the almost 300-year history of the neighborhood. For those who have never heard of Greenwich Village, it’s a pretty good primer. For anyone who has, the film’s a bit of a snooze. I don’t know why I expected to see something new about ground that has been so thoroughly trod.\u003c/p>\n\u003cp>A few words about Tara Wray’s \u003cb>Manhattan, Kansas\u003c/b>: what’s the point? Wray has a problem with her obviously crazy mother, so she puts a camera in the poor woman’s face and tries to trap her into being as wacko as possible. Tara, honey, we’ve all got issues with our parents. Nobody is perfect. Your mom has an obvious imbalance of some kind. It affected you negatively growing up. You’re in therapy now, that’s good, but do you have to share it with the rest of us?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, and most satisfyingly, I previewed \u003cb>Mojave Phone Booth\u003c/b> and was pleasantly surprised. It reminded me of the early days, when independent films played in smelly art houses frequented by malcontents and ne’er-do-wells. \u003cb>Mojave Phone Booth\u003c/b> has “outsider” at the center of its soul. It’s a quartet of thinly-related stories that unfold in the desert and feature lost, yet searching characters whose lives are complicated by deception, depression and despair. All of the characters interact with a mysterious phone booth stuck out in the middle of the desert. Folks camp out by the booth waiting for the phone to ring. For some reason, they can tell the stranger at the other end of the line things one would only reveal to a trusted therapist.\u003c/p>\n\u003cp>I loved how intricately the stories in \u003cb>Mojave Phone Booth\u003c/b> ended up connecting. They are held together with tape, literally, audio and video. The quartet begins with Beth, who is obsessed with all the pieces of audio and video tape she finds blowing in the desert wind. It rolls along the ground and gets trapped in bushes and trees. Beth wonders what’s on the tape. Does it contain sad parts of other people’s lives or messages from some alien species dropping bits of tape onto the earth, just as our technology has moved beyond the ability to play it back? Beth is also dealing with commitment issues, which is a problem for most of the characters in the film. Mary loses her job and learns that her best friend is a prostitute. Alex’s lover Glory believes her body is covered with leach-like aliens from outer space and becomes involved with a man who claims to have a recording that will remove them. Richard can’t accept that his wife never really loved him and vows to make a video proving that she did.\u003c/p>\n\u003cp>\u003cb>Mojave Phone Booth\u003c/b> is deeply working class. Even though some of the situations sound a bit crazy, they are played straight — by pros. The cast is made up of actors who have been around for a long time (mostly on TV), actors one might think of more as journeymen than stars. Everyone is familiar and seems to be playing off of a “washed-up” quality, which is actually very important to the tone of the film. There is something weary about the characters, as if they are trying to stop acting, to free themselves from the scenario they are currently playing out. The cast seems to be using their own familiarity to capture that feeling. \u003cb>Mojave Phone Booth\u003c/b> reminded me of a Polaroid picture slowly being bleached out by the desert sun. There’s just one catch: \u003cb>Mojave Phone Booth\u003c/b> is screening Feb. 10 at 7pm and Feb 18 at 12 noon at the Victoria Theater (a venue that should be abandoned for film screenings as the sound there is so terrible.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Independent Film Festival runs February 8-20, 2007 at various Bay Area theaters. \u003ca href=\"http://www.sfindie.com/catalog\" target=\"offsite\" rel=\"noopener\">View the festival catalog\u003c/a> (at sfindie.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From Air Kisses To “Kiss Off!”\u003c/p>\n\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I’d share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>\n\u003cp>Despite my best intentions, I never made it to the Sundance Music Café, the “official” venue where one could listen to Michael Penn (okay, good movie connection), The Bird & The Bee, or Julia Sweeney and Jill Sobule (Jill is great, and hey I was wondering what “Pat” was up to weren’t you?)\u003c/p>\n\u003cp>That said, here are some of the highlights of what I heard while sitting in dark rooms at Sundance.\u003c/p>\n\u003cp>\u003cb>The Great Rock and Roll Swindle\u003c/b>, \u003cb>Absolute Beginners\u003c/b> and \u003cb>The Secret Policemen’s Other Ball\u003c/b> are all the work of director Julien Temple whose new film, \u003cb>Joe Strummer: The Future Is Unwritten\u003c/b>, is a passionate, comprehensive documentary about the co-conspirator of what is arguably (and that IS the operative term) the most influential rock and roll band of it’s time, The Clash. Of course the music is incredible (especially the very rare early footage of The 101’ers) and the pace makes 2 hours go by all too quickly. Trivial tidbit: Strummer’s soundtrack of \u003cb>Walker\u003c/b> was recorded at San Francisco’s now defunct Russian Hill Studios! Rating: Two middle fingers up! (P.S. If I have my way I’ll be doing a San Francisco screening of this film soon, I’ll let you know when and if it happens via this blog and the radio!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The key music scene in Jeffrey Blitz’s intelligent and hilarious high school comedy, \u003cb>Rocket Science\u003c/b>: a teenager enters a neighbor’s house to spy on a girl he has a major crush on. Before heading upstairs to the room of a nerdy boy who has the perfect view of her room, he encounters the mom and dad who are comfortably numb as they play the piano and cello as part of their “marriage therapy.” The song they sing off key and off beat: the Violent Femmes “Blister In The Sun.” Later, when the young love affair (Yes, he does get the girl) is falling apart, the Femmes “Kiss Off” comes blasting on to the soundtrack. Rating: Big hands — this film is fun!\u003c/p>\n\u003cp>Since I am under no obligation to be politically correct here, it is my opinion — and my opinion only — that the controversial rape scene involving Dakota Fanning in Deborah Kempmeier’s \u003cb>Hound Dog\u003c/b> is relevant to the story — and will help get the word out to make sure there are less victims, because they understand that things can happen if you are not careful. (High sensitivity factor here since this writer has a five-year old daughter.) In addition to the superb acting, there is a musical revelation in this film: white singers like Elvis Presley played a pivotal role in introducing the masses to many great black artists and songs (including “Hound Dog”) they never would have heard otherwise. Rating: High class, and that’s no lie!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special Mention To: \u003cb>Clubland\u003c/b> by Cherie Nolan for her choice of Siouxsie and the Banshee’s “Peek A Boo” in a scarily accurate ’80s New Wave flashback scene.\u003c/p>\n\n",
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"excerpt": "From Air Kisses To \"Kiss Off!\"\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I'd share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From Air Kisses To “Kiss Off!”\u003c/p>\n\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I’d share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>\n\u003cp>Despite my best intentions, I never made it to the Sundance Music Café, the “official” venue where one could listen to Michael Penn (okay, good movie connection), The Bird & The Bee, or Julia Sweeney and Jill Sobule (Jill is great, and hey I was wondering what “Pat” was up to weren’t you?)\u003c/p>\n\u003cp>That said, here are some of the highlights of what I heard while sitting in dark rooms at Sundance.\u003c/p>\n\u003cp>\u003cb>The Great Rock and Roll Swindle\u003c/b>, \u003cb>Absolute Beginners\u003c/b> and \u003cb>The Secret Policemen’s Other Ball\u003c/b> are all the work of director Julien Temple whose new film, \u003cb>Joe Strummer: The Future Is Unwritten\u003c/b>, is a passionate, comprehensive documentary about the co-conspirator of what is arguably (and that IS the operative term) the most influential rock and roll band of it’s time, The Clash. Of course the music is incredible (especially the very rare early footage of The 101’ers) and the pace makes 2 hours go by all too quickly. Trivial tidbit: Strummer’s soundtrack of \u003cb>Walker\u003c/b> was recorded at San Francisco’s now defunct Russian Hill Studios! Rating: Two middle fingers up! (P.S. If I have my way I’ll be doing a San Francisco screening of this film soon, I’ll let you know when and if it happens via this blog and the radio!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The key music scene in Jeffrey Blitz’s intelligent and hilarious high school comedy, \u003cb>Rocket Science\u003c/b>: a teenager enters a neighbor’s house to spy on a girl he has a major crush on. Before heading upstairs to the room of a nerdy boy who has the perfect view of her room, he encounters the mom and dad who are comfortably numb as they play the piano and cello as part of their “marriage therapy.” The song they sing off key and off beat: the Violent Femmes “Blister In The Sun.” Later, when the young love affair (Yes, he does get the girl) is falling apart, the Femmes “Kiss Off” comes blasting on to the soundtrack. Rating: Big hands — this film is fun!\u003c/p>\n\u003cp>Since I am under no obligation to be politically correct here, it is my opinion — and my opinion only — that the controversial rape scene involving Dakota Fanning in Deborah Kempmeier’s \u003cb>Hound Dog\u003c/b> is relevant to the story — and will help get the word out to make sure there are less victims, because they understand that things can happen if you are not careful. (High sensitivity factor here since this writer has a five-year old daughter.) In addition to the superb acting, there is a musical revelation in this film: white singers like Elvis Presley played a pivotal role in introducing the masses to many great black artists and songs (including “Hound Dog”) they never would have heard otherwise. Rating: High class, and that’s no lie!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special Mention To: \u003cb>Clubland\u003c/b> by Cherie Nolan for her choice of Siouxsie and the Banshee’s “Peek A Boo” in a scarily accurate ’80s New Wave flashback scene.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let me start by saying I’m a sucker for Zhang Yimou. From martial arts epics like \u003cb>Hero\u003c/b> to town and country comedies like \u003cb>Not One Less\u003c/b>, he delivers year after year, gracefully hopping from style to style and mastering them all.\u003c/p>\n\u003cp>His latest, \u003cb>Curse of the Golden Flower\u003c/b>, picks up where last year’s twin killings of \u003cb>Hero\u003c/b> and \u003cb>House of Flying Daggers\u003c/b> left off. \u003cb>Curse\u003c/b> is a martial arts epic on the grandest of scales. In many respects \u003cb>Curse\u003c/b> fulfills the promise of films from Hollywood’s Golden Era in ways that American films no longer approach. If you have a hankering for a bygone era where movies provided an element of escapism with stories bigger than life, international stars dressed to the nines, set in milieus beyond your wildest fantasies then \u003cb>Curse\u003c/b> delivers in style.\u003c/p>\n\u003cp>Set amidst the palaces of Tang Dynasty China, the sets are beyond belief — opulent and colorful, bordering on kaleidescopic. The wardrobe, costumes and hairdos should have devotees of Edith Head swimming in their saliva. Both Gong Li and Chow Yun-Fat look amazing and don jaw-dropping outfit after jaw-dropping outfit. But the fashion show doesn’t stop with the stars, the film has a cast of thousands dressed in color-coordinated finery.\u003c/p>\n\u003cp>As for the story, this is unabashed melodrama of (Douglas) Sirkian proportions involving infidelity, incest, poison, and for good measure, a military coup that leads to a staggering body count. And while the mounting death toll may be a turn off to those fond of a more genteel 50’s universe, the martial arts sequences are a thing of choreographed beauty. It might not be Astaire and Rogers, but one could make a case for a comparison.\u003c/p>\n\u003cp>Technically the film is astounding. The cinematography, art direction, editing, and sound mix are all Academy Award caliber. Like the Golden Age of Hollywood, which featured the top technicians at the top of their game, Zhang has surrounded himself with technical masters. At the end of the day, if you’re looking to sink back into your seat and let a movie envelop you, \u003cb>Curse of The Golden Flower\u003c/b> won’t disappoint.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>On Thursday, December 28th, I watched \u003cb>The Black Dahlia\u003c/b>, DVD 500 for the year. Some said it couldn’t be done, others said I would quit before I finished the project. But I ended up finishing with 3 days to spare. The only way I could think to wrap up a full year of obsessive binge watching is with a “Best” and “Worst” list.\u003c/p>\n\u003cp>\u003cb> Worst Pretentious Art Film\u003c/b>\u003cbr>Not only did \u003cb>Cowards Bend The Knee\u003c/b> win this for the year, but maybe for the worst film of all time. It was shown for the first time at a museum. Which makes it an art film in my opinion. It’s a film about hockey and sperm. Really. Ugh.\u003c/p>\n\u003cp>\u003cb> Worst Use of Klaus Kinski\u003c/b>\u003cbr>I had numerous problems with \u003cb>Web of the Spider\u003c/b>, namely that there was no spider in it whatsoever. And what started as a ghost story turned into a vampire story. Or maybe they were vampire ghosts. Who knows…the crime was casting Klaus Kinski as Edgar Allan Poe and only filming two scenes with him.\u003c/p>\n\u003cp>\u003cb> Worst Titled Film\u003c/b>\u003cbr>\u003cb>Vampire Clan\u003c/b> had no vampires in it. Nuff said.\u003c/p>\n\u003cp>\u003cb> Worst Overall Production\u003c/b>\u003cbr>\u003cb>Youtube\u003c/b> has better production quality than \u003cb>Soccer’s Most Violent Fan Fights\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb> Worst Film by a Guy Who Should Know Better\u003c/b>\u003cbr>Jim Jarmusch’s \u003cb>Coffee and Cigarettes\u003c/b> has the worst career performances of each and every actor in the film.\u003c/p>\n\u003cp>\u003cb> Worst Sequel\u003c/b>\u003cbr>\u003cb>Basic Instinct 2\u003c/b> was a worse drop off than the \u003cb>Highlander\u003c/b> sequels. I was stunned they couldn’t get a run of the mill average screenplay for the sequel, instead of something so horrible — and after so long.\u003c/p>\n\u003cp>\u003cb>Worst Made-For-TV Movie Made to Look Legit\u003c/b>\u003cbr>There are many made-for-TV movies that look like theatrical releases on Netflix. From the opening titles, It’s obvious that you’re getting a second rate film. When I saw that \u003cb>Midnight Madness\u003c/b> had both Michael J Fox and Paul Reubens in it, I queued it up, thinking it was an early ’80s teen flick. It was a really bad made-for-TV film, with very little Paul Reubens at all.\u003c/p>\n\u003cp>\u003cb> Worst Costumes\u003c/b>\u003cbr>In \u003cb>Wassup Rockers\u003c/b>, Larry Clark wanted to show a day in the life of poor Latino skateboarders who spend the time getting into trouble. The problem is, they’re wearing really expensive designer clothes made to look trashy, like the $300 jeans that were “distressed” denim.\u003c/p>\n\u003cp>\u003cb> Worst DVD Transfer\u003c/b>\u003cbr>\u003cb>To Kill a Jackal\u003c/b> has the quality of a camcorder-in-the-theater bootleg. It looks like they filmed a DVD from a video on a TV. Only the center of the original picture is seen, and sometimes neither character talking to each other is seen. I never thought I’d say this, but Pan and Scan would have been better.\u003c/p>\n\u003cp>\u003cb> Worst Amateur Documentary\u003c/b>\u003cbr>While well made, \u003cb>Why Won’t Anyone Listen?\u003c/b> fails on a deep level. The documentary is about a band that can’t achieve success. 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It’s been knocked off quite a few times by now, in films such as\u003cb>Down In The Valley\u003c/b> and \u003cb>Natural Born Killers\u003c/b>, but was done best the first time around.\u003c/p>\n\u003cp>\u003cb>Best Film That Drastically Switches Moods\u003c/b>\u003cbr>\u003cb>The Swimmer\u003c/b> literally starts off sunny and bright and turns progressively darker until it’s a black clouded, rainy mess. Burt Lancaster vows to swim through all his neighbors’ pools on his way home, but along the way, we learn how much his life has unraveled.\u003c/p>\n\u003cp>\u003cb>Best Foreign Film\u003c/b>\u003cbr>The dreamlike \u003cb>Kagemusha\u003c/b> almost won this, but I have to hand it to Werner Herzog for \u003cb>Aguirre: The Wrath of God\u003c/b> Watch this DVD twice, the second time with the commentary track on.\u003c/p>\n\u003cp>\u003cb>Best Teen Flick\u003c/b>\u003cbr>I almost gave this to \u003cb>The Chumscrubber\u003c/b>, but \u003cb>Brick\u003c/b>‘s hard-boiled dialogue won me over. \u003cb>Brick\u003c/b> is original and smart. One of my favorites of any genre for the year.\u003c/p>\n\u003cp>\u003cb>Best Horror Film\u003c/b>\u003cbr>Dario Argento’s \u003cb>Suspiria\u003c/b> was truly terrifying. While \u003cb>Donnie Darko\u003c/b> is a nightmarish film, it’s not really scary is it?\u003c/p>\n\u003cp>\u003cb>Best Western\u003c/b>\u003cbr>I watched more Westerns this year than in any other time in my life. Edging out \u003cb>McCabe and Mrs. Miller\u003c/b> is Sam Peckinpah’s \u003cb>Pat Garrett and Billy the Kid\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Best Director\u003c/b>\u003cbr>I caught up on Michael Ritchie, Arthur Penn, and many others. But watching all the Anthony Mann films was a real treat.\u003c/p>\n\u003cp>\u003cb>Best Amateur Documentary\u003c/b>\u003cbr>\u003cb>My Date With Drew\u003c/b> was actually good. With the advent of new camera equipment and software, anyone with about five thousand dollars to blow can make his or her own movie. But this doesn’t mean that the movie will be good. This film was good enough that, if I were Drew Barrymore I’d be flattered.\u003c/p>\n\u003cp>\u003cb>Best Unintentionally Creepy Film\u003c/b>\u003cbr>I loved \u003cb>The Great Gabbo\u003c/b>, an early talkie about the titular ventriloquist who hates everyone except for his dummy, Otto. While Otto is not a “living” dummy, his mouth does move even when apart from Gabbo, which totally creeped me out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> So how do I wrap up a fully obsessive year in which I spent slightly more than 36 days in front of the tube? I’m looking forward to the theater, books, and going outside. Whether it’s frivolous or productive, there’s a lot you can get done in a year if you devote even one hour a day to your goals. Find something you want to do or learn this year, and stick to it!\u003c/p>\n\n",
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It was a really bad made-for-TV film, with very little Paul Reubens at all.\u003c/p>\n\u003cp>\u003cb> Worst Costumes\u003c/b>\u003cbr>In \u003cb>Wassup Rockers\u003c/b>, Larry Clark wanted to show a day in the life of poor Latino skateboarders who spend the time getting into trouble. The problem is, they’re wearing really expensive designer clothes made to look trashy, like the $300 jeans that were “distressed” denim.\u003c/p>\n\u003cp>\u003cb> Worst DVD Transfer\u003c/b>\u003cbr>\u003cb>To Kill a Jackal\u003c/b> has the quality of a camcorder-in-the-theater bootleg. It looks like they filmed a DVD from a video on a TV. Only the center of the original picture is seen, and sometimes neither character talking to each other is seen. I never thought I’d say this, but Pan and Scan would have been better.\u003c/p>\n\u003cp>\u003cb> Worst Amateur Documentary\u003c/b>\u003cbr>While well made, \u003cb>Why Won’t Anyone Listen?\u003c/b> fails on a deep level. The documentary is about a band that can’t achieve success. It would’ve been good had the band been an undiscovered gem, but soon it’s apparent the band isn’t successful because they suck.\u003c/p>\n\u003cp>\u003cb>Best Career Move\u003c/b>\u003cbr>Denis Leary had some moments as a standup comic and is an archetype for the Angry Comic. But he followed that up with really bad choices in quite a few films. Then a few years ago, he got the lead in \u003cb>Rescue Me\u003c/b>, which is the perfect role for him. \u003cb>Rescue Me\u003c/b> is a well-written drama that focuses on the lives of firemen in the city.\u003c/p>\n\u003cp>\u003cb>Best Unlikely Love Story\u003c/b>\u003cbr>\u003cb>Badlands\u003c/b>, a film inspired by the Charlie Starkweather killings, focuses on the relationship between the killer and his teenage girlfriend. Terrence Mallick directs his script, with stellar performances by Martin Sheen and Sissy Spacek. It’s been knocked off quite a few times by now, in films such as\u003cb>Down In The Valley\u003c/b> and \u003cb>Natural Born Killers\u003c/b>, but was done best the first time around.\u003c/p>\n\u003cp>\u003cb>Best Film That Drastically Switches Moods\u003c/b>\u003cbr>\u003cb>The Swimmer\u003c/b> literally starts off sunny and bright and turns progressively darker until it’s a black clouded, rainy mess. Burt Lancaster vows to swim through all his neighbors’ pools on his way home, but along the way, we learn how much his life has unraveled.\u003c/p>\n\u003cp>\u003cb>Best Foreign Film\u003c/b>\u003cbr>The dreamlike \u003cb>Kagemusha\u003c/b> almost won this, but I have to hand it to Werner Herzog for \u003cb>Aguirre: The Wrath of God\u003c/b> Watch this DVD twice, the second time with the commentary track on.\u003c/p>\n\u003cp>\u003cb>Best Teen Flick\u003c/b>\u003cbr>I almost gave this to \u003cb>The Chumscrubber\u003c/b>, but \u003cb>Brick\u003c/b>‘s hard-boiled dialogue won me over. \u003cb>Brick\u003c/b> is original and smart. One of my favorites of any genre for the year.\u003c/p>\n\u003cp>\u003cb>Best Horror Film\u003c/b>\u003cbr>Dario Argento’s \u003cb>Suspiria\u003c/b> was truly terrifying. While \u003cb>Donnie Darko\u003c/b> is a nightmarish film, it’s not really scary is it?\u003c/p>\n\u003cp>\u003cb>Best Western\u003c/b>\u003cbr>I watched more Westerns this year than in any other time in my life. Edging out \u003cb>McCabe and Mrs. Miller\u003c/b> is Sam Peckinpah’s \u003cb>Pat Garrett and Billy the Kid\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Best Director\u003c/b>\u003cbr>I caught up on Michael Ritchie, Arthur Penn, and many others. But watching all the Anthony Mann films was a real treat.\u003c/p>\n\u003cp>\u003cb>Best Amateur Documentary\u003c/b>\u003cbr>\u003cb>My Date With Drew\u003c/b> was actually good. With the advent of new camera equipment and software, anyone with about five thousand dollars to blow can make his or her own movie. But this doesn’t mean that the movie will be good. This film was good enough that, if I were Drew Barrymore I’d be flattered.\u003c/p>\n\u003cp>\u003cb>Best Unintentionally Creepy Film\u003c/b>\u003cbr>I loved \u003cb>The Great Gabbo\u003c/b>, an early talkie about the titular ventriloquist who hates everyone except for his dummy, Otto. While Otto is not a “living” dummy, his mouth does move even when apart from Gabbo, which totally creeped me out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> So how do I wrap up a fully obsessive year in which I spent slightly more than 36 days in front of the tube? I’m looking forward to the theater, books, and going outside. Whether it’s frivolous or productive, there’s a lot you can get done in a year if you devote even one hour a day to your goals. Find something you want to do or learn this year, and stick to it!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every film nerd out there wants to have his or her theories about movies saved for everyone to see. The internet teems with amateur reviewers voicing opinions on cinema. I’m one of those people. I’ve left comments and reviews on various sites, thinking I could do the reviewer’s job as well as anyone. After some pitches and ideas, I came up with the idea to watch 500 films in one year, filling up my Netflix queue on January 1 and then emptying it by December 31. Even for someone with obsessive behavior, I soon experienced the difficulty in executing my ideas. I had to learn the rhythms of Netflix’s shipping and receiving days in order to get the films at home in time. If I missed even a day, I fell behind in the pace to finish on time.\u003c/p>\n\u003cp>Out in the real world, I missed bands I wanted to see and parties I wanted to attend in order to finish on time. I never really noticed how much time I could spend in front of the TV as I did this year. At first, it didn’t seem like much: 10 movies a week for a year. But the reality was much more grinding. My social life took a serious hit as I had to go home early to watch some DVD so I could get it in the mail the next day and have it replaced by the weekend. Many Sundays were spent in four DVD marathons trying to finish a batch.\u003c/p>\n\u003cp>All totaled, I spent over a month in front of the tube, one movie at a time. Considering I also spent eight months sleeping and being at work, this was one fourth of my personal time. I’ll probably still watch around 200 films next year, a much more reasonable pace of 4 DVDs per week, but I’m looking forward to the end of the project and moving on to new things next year.\u003c/p>\n\u003cp>What’s next for me? Santa brought me the \u003cb>Grand Theft Auto\u003c/b> box set for Christmas. My PS2 has been little more than a DVD player all year long. I played very few videogames all year. I need a little geek time for myself.\u003c/p>\n\u003cp>The other aspect of my life that changed greatly was that I all but quit reading books this year. In 2005, I went through two or three books per month. This year, I read only five or six books total. While I’m not going to do something so radical as a Read 100 type project, I do hope to read a book a week for the year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were a few contenders for the pick this week. Judd Apatow’s followup to his series \u003cb>Freaks and Geeks\u003c/b> was \u003cb>Undeclared\u003c/b>, a really fun show about college freshmen living in the dorms. Rob Corddry of \u003cb>The Daily Show\u003c/b> had a hilarious mockumentary about a professional paintball player with \u003cb>Blackballed: The Bobby Duke Story\u003c/b>. But the winner this week was a film starring Kirk Douglas called \u003cb>There Was a Crooked Man\u003c/b>.\u003c/p>\n\u003cp>What started off as a Western soon turned into a prison film, and a fine one at that. Douglas steals half a million dollars in cash, and hides it away in the wilderness before he’s caught and sent to a desolate fort-style prison. Along with his cellmates, he plots an escape and the retrieval of the money. Everything goes well until Henry Fonda, as the new warden, comes into the picture.\u003c/p>\n\u003cp>The strength of the film is the talented cast, from top to bottom. Along with the aforementioned actors, the film also stars Hume Cronyn, Burgess Meredith, and Warren Oates. Alan “The Skipper” Hale even has a small role.\u003c/p>\n\u003cp>\u003cb>Theater Report \u003c/b>\u003cbr>I went to see \u003cb>The Good Shepherd\u003c/b> on Christmas Eve at the Metreon. The Metreon doesn’t have a lot going for it other than its seating. The seats are big enough and comfortable, a must for watching 3 hour movies. With the stadium style layout, virtually every seat in the theater is a good one. However, I’m more of an arthouse kind of guy. Most film nerds I know are. But many of the older theaters have seats that are broken, worn out or don’t have particularly good views if the wrong person sits directly in front of you. Last year, I saw \u003cb>The Best of Youth\u003c/b>, a six hour film that was utterly beautiful, but I was wedged into a seat with not enough leg room for my 74 inch long frame. Fortunately, that film was worth all physical inconveniences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching all these movies at home, I’m siding with the home viewing for most films. With rare exception, I enjoy watching DVDs by myself, being able to pause when necessary, and not having to worry if someone else is talking, or wearing too much Brut, or listening to someone else smack away on snacks. There are some experiences that should be in the theater, but for the most part I’d rather watch films when I want, with my own food, comfort, and viewing leisure. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every film nerd out there wants to have his or her theories about movies saved for everyone to see. The internet teems with amateur reviewers voicing opinions on cinema. I’m one of those people. I’ve left comments and reviews on various sites, thinking I could do the reviewer’s job as well as anyone. After some pitches and ideas, I came up with the idea to watch 500 films in one year, filling up my Netflix queue on January 1 and then emptying it by December 31. Even for someone with obsessive behavior, I soon experienced the difficulty in executing my ideas. I had to learn the rhythms of Netflix’s shipping and receiving days in order to get the films at home in time. If I missed even a day, I fell behind in the pace to finish on time.\u003c/p>\n\u003cp>Out in the real world, I missed bands I wanted to see and parties I wanted to attend in order to finish on time. I never really noticed how much time I could spend in front of the TV as I did this year. At first, it didn’t seem like much: 10 movies a week for a year. But the reality was much more grinding. My social life took a serious hit as I had to go home early to watch some DVD so I could get it in the mail the next day and have it replaced by the weekend. Many Sundays were spent in four DVD marathons trying to finish a batch.\u003c/p>\n\u003cp>All totaled, I spent over a month in front of the tube, one movie at a time. Considering I also spent eight months sleeping and being at work, this was one fourth of my personal time. I’ll probably still watch around 200 films next year, a much more reasonable pace of 4 DVDs per week, but I’m looking forward to the end of the project and moving on to new things next year.\u003c/p>\n\u003cp>What’s next for me? Santa brought me the \u003cb>Grand Theft Auto\u003c/b> box set for Christmas. My PS2 has been little more than a DVD player all year long. I played very few videogames all year. I need a little geek time for myself.\u003c/p>\n\u003cp>The other aspect of my life that changed greatly was that I all but quit reading books this year. In 2005, I went through two or three books per month. This year, I read only five or six books total. While I’m not going to do something so radical as a Read 100 type project, I do hope to read a book a week for the year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were a few contenders for the pick this week. Judd Apatow’s followup to his series \u003cb>Freaks and Geeks\u003c/b> was \u003cb>Undeclared\u003c/b>, a really fun show about college freshmen living in the dorms. Rob Corddry of \u003cb>The Daily Show\u003c/b> had a hilarious mockumentary about a professional paintball player with \u003cb>Blackballed: The Bobby Duke Story\u003c/b>. But the winner this week was a film starring Kirk Douglas called \u003cb>There Was a Crooked Man\u003c/b>.\u003c/p>\n\u003cp>What started off as a Western soon turned into a prison film, and a fine one at that. Douglas steals half a million dollars in cash, and hides it away in the wilderness before he’s caught and sent to a desolate fort-style prison. Along with his cellmates, he plots an escape and the retrieval of the money. Everything goes well until Henry Fonda, as the new warden, comes into the picture.\u003c/p>\n\u003cp>The strength of the film is the talented cast, from top to bottom. Along with the aforementioned actors, the film also stars Hume Cronyn, Burgess Meredith, and Warren Oates. Alan “The Skipper” Hale even has a small role.\u003c/p>\n\u003cp>\u003cb>Theater Report \u003c/b>\u003cbr>I went to see \u003cb>The Good Shepherd\u003c/b> on Christmas Eve at the Metreon. The Metreon doesn’t have a lot going for it other than its seating. The seats are big enough and comfortable, a must for watching 3 hour movies. With the stadium style layout, virtually every seat in the theater is a good one. However, I’m more of an arthouse kind of guy. Most film nerds I know are. But many of the older theaters have seats that are broken, worn out or don’t have particularly good views if the wrong person sits directly in front of you. Last year, I saw \u003cb>The Best of Youth\u003c/b>, a six hour film that was utterly beautiful, but I was wedged into a seat with not enough leg room for my 74 inch long frame. Fortunately, that film was worth all physical inconveniences.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After watching all these movies at home, I’m siding with the home viewing for most films. With rare exception, I enjoy watching DVDs by myself, being able to pause when necessary, and not having to worry if someone else is talking, or wearing too much Brut, or listening to someone else smack away on snacks. There are some experiences that should be in the theater, but for the most part I’d rather watch films when I want, with my own food, comfort, and viewing leisure. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>While watching \u003cb>The Killer’s Kiss\u003c/b>, a film by Stanley Kubrick, I thought of other lesser-known films of his such as \u003cb>The Killing\u003c/b> and \u003cb>Paths of Glory\u003c/b>. In the career of many famous directors, there are a few films that get by the general public. Until the ’80s, film nerds relied upon art house revivals and festivals to see these gems. The VCR changed the situation somewhat, but the most obscure films were not released on video. My absolute favorite aspect of the DVD era is the selection. Watching that rare film now only takes a few days from the time that it is ordered. This week I thought I would put together a list of the lesser-known films of some well-known directors. These films are available on DVD, but somehow out of the eye of the general public.\u003c/p>\n\u003cp>\u003cb>Martin Scorsese\u003c/b>\u003cbr>What hasn’t been said about Scorsese? He has five Oscar nominations so far, and perhaps a sixth one coming for \u003cb>The Departed\u003c/b>. But if you haven’t seen \u003cb>After Hours\u003c/b>, Scorsese’s film about a night in New York City’s underground art scene gone horribly wrong, you’ve missed the wacky comedy side of the director. Also, few people know that the diner sitcom \u003cb>Alice\u003c/b> was based on \u003cb>Alice Doesn’t Live Here Anymore\u003c/b>; there’s some confusion with this title and a completely different film called \u003cb>Alice’s Restaurant\u003c/b>, don’t mix the two up. And for one of DeNiro’s best performances, you must see \u003cb>King of Comedy\u003c/b>; why this film isn’t as well known as \u003cb> Taxi Driver\u003c/b> or \u003cb>Mean Streets\u003c/b> I’ll never understand.\u003c/p>\n\u003cp>\u003cb>Steven Spielberg\u003c/b>\u003cbr>There’s a dark nugget of greatness at the bottom of the fluff mine that is Spielberg’s career. If you get the TV show \u003cb>Night Gallery\u003c/b> on DVD, there is an episode that he directed called “Eyes,” which in my opinion is a masterpiece. Joan Crawford pays Tom Bosley nine thousand dollars for the use of his eyes for a few hours. Yes, you read that right, and to tell you anymore would spoil the episode.\u003c/p>\n\u003cp>\u003cb>Michael Mann\u003c/b>\u003cbr>Before \u003cb>Miami Vice\u003c/b> became a hit show, and \u003cb>Heat\u003c/b> made him a hot director, Michael Mann made a great film with the character Hannibal Lecter called \u003cb>Manhunter\u003c/b>, which is available in a variety of cuts and versions on DVD. It predated \u003cb>Silence of the Lambs\u003c/b>, and some say it’s a better film. While we’re tired of seeing “One Last Job And I’ll Retire” plots for crime films, Mann’s \u003cb>Thief\u003c/b>, starring James Caan is a must watch film. \u003c/p>\n\u003cp>\u003cb>Michael Moore\u003c/b>\u003cbr>The director best known for his documentaries \u003cb>Michael and Me\u003c/b> and \u003cb>Farenheit 911\u003c/b> made a satirical comedy called \u003cb>Canadian Bacon\u003c/b> with John Candy in the lead role. The film opened and closed quickly, but for those who like political comedies, it’s hilarious. Alan Alda, as the president of the United States, starts a cold war with Canada to bolster defense spending. But no matter what provocation and propaganda commercials are run, Canada remains nothing but polite and helpful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Oliver Stone\u003c/b>\u003cbr>About ten years ago, Stone put together a cast that included Sean Penn, Nick Nolte, Jennifer Lopez, Billy Bob Thornton, John Voight, Claire Danes, and Joaquin Phoenix. Doesn’t ring a bell, does it? It’s a strange small town film called \u003cb>U-turn\u003c/b>, in which Sean Penn’s car breaks down and the town seems inescapable. It’s one of those films that is hard to categorize. Is it a comedy? A drama? A film noir? While I liked it very much, I remember people complaining while coming out of the theater, so maybe it’s just my personal taste.\u003c/p>\n\u003cp>\u003cb>Francis Ford Coppola\u003c/b>\u003cbr>For some reason, a lot of people have seen one of the films he made based on a SE Hinton novel and not the other. While \u003cb>The Outsiders\u003c/b> still shows up on cable, I don’t ever remember seeing \u003cb>Rumblefish\u003c/b> on the TV lineup. Back when Mickey Roarke could still act, he starred as the mysterious Motorcycle Boy, the brother of Rusty James played by Matt Dillon. Their drunken father was played to perfection by Dennis Hopper, who was making a comeback of sorts in film. \u003cb>Rumblefish\u003c/b> looks much like an art film, as it is filmed all in black and white save for a few moments, but also equal parts Juvenile Delinquent film from the ’50s.\u003c/p>\n\u003cp>\u003cb>Spike Lee \u003c/b>\u003cbr>One film at a time, Spike Lee has built one of the most impressive catalogues in American Cinema. From big opening Hollywood fare to quiet documentaries that squeak out of film festivals and onto DVD, Spike Lee has made many more films than people realize. \u003cb>Mo’ Better Blues\u003c/b> will remind you that Wesley Snipes had acting skills, showing off opposite Denzel Washington in a story set in the world of Jazz. \u003cb>Get On the Bus\u003c/b> follows the interaction between a bus full of black men who are on their way to the Million Man March; Spike asks a lot of tough questions about the mind and lifestyle of men in America, constantly showing both sides of arguments and not taking either. I think it’s his most thoughtful film outside of his documentaries. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>Nothing really stood out as a must see this week. I already spent time last week talking up \u003cb>Saturday Night Live\u003c/b>. There were some fun films, but nothing that really set me on fire. I’m going to recommend \u003cb>The Killer’s Kiss\u003c/b>, Kubrick’s film about a washed up boxer. He’s yet to delve into the metaphysical depths for which he became famous, but the overall look of the film is definitely Kubrick. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I self-throttled this week. I got a John Waters DVD, \u003cb>This Filthy World\u003c/b>, and accidentally returned it without watching it, thinking that I was returning a different DVD at that time. 10 DVDs this week. 487 DVDs in 351 days. 13 DVDs left in the next 14 days for a pace of 6.49 per week. This is the first time all year that I don’t have to watch more than one DVD per day. It feels kinda weird.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>While watching \u003cb>The Killer’s Kiss\u003c/b>, a film by Stanley Kubrick, I thought of other lesser-known films of his such as \u003cb>The Killing\u003c/b> and \u003cb>Paths of Glory\u003c/b>. In the career of many famous directors, there are a few films that get by the general public. Until the ’80s, film nerds relied upon art house revivals and festivals to see these gems. The VCR changed the situation somewhat, but the most obscure films were not released on video. My absolute favorite aspect of the DVD era is the selection. Watching that rare film now only takes a few days from the time that it is ordered. This week I thought I would put together a list of the lesser-known films of some well-known directors. These films are available on DVD, but somehow out of the eye of the general public.\u003c/p>\n\u003cp>\u003cb>Martin Scorsese\u003c/b>\u003cbr>What hasn’t been said about Scorsese? He has five Oscar nominations so far, and perhaps a sixth one coming for \u003cb>The Departed\u003c/b>. But if you haven’t seen \u003cb>After Hours\u003c/b>, Scorsese’s film about a night in New York City’s underground art scene gone horribly wrong, you’ve missed the wacky comedy side of the director. Also, few people know that the diner sitcom \u003cb>Alice\u003c/b> was based on \u003cb>Alice Doesn’t Live Here Anymore\u003c/b>; there’s some confusion with this title and a completely different film called \u003cb>Alice’s Restaurant\u003c/b>, don’t mix the two up. And for one of DeNiro’s best performances, you must see \u003cb>King of Comedy\u003c/b>; why this film isn’t as well known as \u003cb> Taxi Driver\u003c/b> or \u003cb>Mean Streets\u003c/b> I’ll never understand.\u003c/p>\n\u003cp>\u003cb>Steven Spielberg\u003c/b>\u003cbr>There’s a dark nugget of greatness at the bottom of the fluff mine that is Spielberg’s career. If you get the TV show \u003cb>Night Gallery\u003c/b> on DVD, there is an episode that he directed called “Eyes,” which in my opinion is a masterpiece. Joan Crawford pays Tom Bosley nine thousand dollars for the use of his eyes for a few hours. Yes, you read that right, and to tell you anymore would spoil the episode.\u003c/p>\n\u003cp>\u003cb>Michael Mann\u003c/b>\u003cbr>Before \u003cb>Miami Vice\u003c/b> became a hit show, and \u003cb>Heat\u003c/b> made him a hot director, Michael Mann made a great film with the character Hannibal Lecter called \u003cb>Manhunter\u003c/b>, which is available in a variety of cuts and versions on DVD. It predated \u003cb>Silence of the Lambs\u003c/b>, and some say it’s a better film. While we’re tired of seeing “One Last Job And I’ll Retire” plots for crime films, Mann’s \u003cb>Thief\u003c/b>, starring James Caan is a must watch film. \u003c/p>\n\u003cp>\u003cb>Michael Moore\u003c/b>\u003cbr>The director best known for his documentaries \u003cb>Michael and Me\u003c/b> and \u003cb>Farenheit 911\u003c/b> made a satirical comedy called \u003cb>Canadian Bacon\u003c/b> with John Candy in the lead role. The film opened and closed quickly, but for those who like political comedies, it’s hilarious. Alan Alda, as the president of the United States, starts a cold war with Canada to bolster defense spending. But no matter what provocation and propaganda commercials are run, Canada remains nothing but polite and helpful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Oliver Stone\u003c/b>\u003cbr>About ten years ago, Stone put together a cast that included Sean Penn, Nick Nolte, Jennifer Lopez, Billy Bob Thornton, John Voight, Claire Danes, and Joaquin Phoenix. Doesn’t ring a bell, does it? It’s a strange small town film called \u003cb>U-turn\u003c/b>, in which Sean Penn’s car breaks down and the town seems inescapable. It’s one of those films that is hard to categorize. Is it a comedy? A drama? A film noir? While I liked it very much, I remember people complaining while coming out of the theater, so maybe it’s just my personal taste.\u003c/p>\n\u003cp>\u003cb>Francis Ford Coppola\u003c/b>\u003cbr>For some reason, a lot of people have seen one of the films he made based on a SE Hinton novel and not the other. While \u003cb>The Outsiders\u003c/b> still shows up on cable, I don’t ever remember seeing \u003cb>Rumblefish\u003c/b> on the TV lineup. Back when Mickey Roarke could still act, he starred as the mysterious Motorcycle Boy, the brother of Rusty James played by Matt Dillon. Their drunken father was played to perfection by Dennis Hopper, who was making a comeback of sorts in film. \u003cb>Rumblefish\u003c/b> looks much like an art film, as it is filmed all in black and white save for a few moments, but also equal parts Juvenile Delinquent film from the ’50s.\u003c/p>\n\u003cp>\u003cb>Spike Lee \u003c/b>\u003cbr>One film at a time, Spike Lee has built one of the most impressive catalogues in American Cinema. From big opening Hollywood fare to quiet documentaries that squeak out of film festivals and onto DVD, Spike Lee has made many more films than people realize. \u003cb>Mo’ Better Blues\u003c/b> will remind you that Wesley Snipes had acting skills, showing off opposite Denzel Washington in a story set in the world of Jazz. \u003cb>Get On the Bus\u003c/b> follows the interaction between a bus full of black men who are on their way to the Million Man March; Spike asks a lot of tough questions about the mind and lifestyle of men in America, constantly showing both sides of arguments and not taking either. I think it’s his most thoughtful film outside of his documentaries. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>Nothing really stood out as a must see this week. I already spent time last week talking up \u003cb>Saturday Night Live\u003c/b>. There were some fun films, but nothing that really set me on fire. I’m going to recommend \u003cb>The Killer’s Kiss\u003c/b>, Kubrick’s film about a washed up boxer. He’s yet to delve into the metaphysical depths for which he became famous, but the overall look of the film is definitely Kubrick. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"marketplace": {
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"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.",
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},
"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"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?",
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"on-the-media": {
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"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.",
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"politicalbreakdown": {
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"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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