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"content": "\u003cp>Sometimes, watching a film about a great artist can be disconcerting — especially when one has artistic ambitions of one’s own. Usually such biographies are littered with casts of powerful and important people proclaiming the impact and relevance of the subject, and naturally this would be even more pronounced when the subject is an architect. Architects only achieve greatness after they have managed to win and build a number of important commissions. Hence, the folks most qualified to discuss the work of someone like Frank Gehry are those who live in Gehry homes or have awarded him his biggest commissions — the super-rich and mega-powerful.\u003c/p>\n\u003cp>I’m sure there are a number of architects out there who would argue the above point about greatness. Architecture serves so many purposes, how do we measure its impact? Certainly the architects who have designed and produced the strip-mall, the box store and the tract home have had more of a real effect (deleterious, if you ask me) on more peoples’ lives than those rare few like Frank Gehry, who have designed fabulous (or fabulist?) museums and concert halls. However, architects on the leading edge of the discipline are often involved in a more intellectual, more conceptual dialogue with the world about what architecture means and what it could and should do. Love it or hate it, Frank Gehry’s work pushes the idea of building — and the buildings themselves — into strange and wonderful new shapes.\u003c/p>\n\u003cp>Sydney Pollack’s film, \u003cb>Sketches of Frank Gehry\u003c/b>, is constructed the way most film biographies are, interviews intertwined with snippets of life story and gorgeous images of the art. Gehry is an unassuming character, which, as most of the folks in the film will attest, is a very effective mask for the man’s ego and ambition, which would have to be huge to have constructed so many monumental structures. Even Gehry’s long-time shrink shows up to add a telling detail or two. The filmmaker, Sydney Pollack is best known for his directorial work (\u003cb>The Way We Were\u003c/b>, \u003cb>The Interpreter\u003c/b>) and for that guy he plays in his own and other people’s movies (\u003cb>Tootsie\u003c/b>, \u003cb>Husbands and Wives\u003c/b>) — you know the neurotic-best friend-agent or the best friend-lawyer-neurotic. The inclusion of shots of Pollack filming his friend Frank, alongside the cast of other rich white guys made the enterprise seem a bit insider-ish. There’s no getting around it, one needs a lot of cash to enter into a conversation with a top architect. One titan even spent 12 years and $5 million with Gehry designing a project he ended up deciding NOT to build. Now that’s disposable income!\u003c/p>\n\u003cp>Ultimately, \u003cb>Sketches of Frank Gehry\u003c/b> affected me in a more profound way than I expected. At the core of the film is the tension between the impulse to make art and the need to make money. If you think of architecture as an art, which the kind practiced by Frank Gehry most certainly is, it is alone in its inability to become fully realized without huge wads of cash. Filmmaking is a close second, I guess.\u003c/p>\n\u003cp>In learning how to combine “physics with free-wheeling art,” Gehry had to not only become the architect he is today, but he had to convince others to support him while he did so. He says that becoming yourself is like jumping off a cliff. It’s the same old story. Stop trying to make money and start making yourself happy and the money will inevitably follow. Many people take that leap of faith but are not caught by the buoyancy of success. Biographies are not made about those people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frank Gehry’s artistic struggle was with the Modernist mantra that decoration is a sin. As an architect, how could one humanize a building without decoration? This is where his genius kicked in, he had a problem with the material world until he realized that the materials themselves could be expressive. Early in his career Gehry experimented with different kinds of industrial materials that were formerly thought of as ugly (corrugated steel, chain-link fence), but in the right combination and bent into the right shape, those materials became flexible and emotive.\u003c/p>\n\u003cp>The film is book-ended with sequences that evoked really powerful, connected, but conflicting emotions, which I think get to the heart of Gehry’s place at the nexus of art and architecture. The first is early on, during a montage of private homes Gehry has built in Los Angeles. The second comes toward the end of the film, when we see Maggie’s Place, a structure the architect produced pro-bono in memory of a friend who had succumbed to cancer. The first was about privilege. The homes were overwhelmingly beautiful, but were equally as inaccessible. This kind of beauty, this kind of life is only experienced by the very few and it felt like an excerpt from \u003cb>Lifestyles of the Rich and Famous\u003c/b>, expressing America’s obsession with celebrity culture and the longing for a life forever out of reach. In response to this feeling, Maggie’s Place is a salve, the most beautiful structure in the whole film — Bilbao be damned. The form itself spoke volumes about Gehry as a citizen of the world. It was built as a healing retreat for cancer patients and, though this hardly seems possible, seeing it made me feel like I knew Maggie, as though Gehry had created a portrait of his feelings for her out of wood and concrete and steel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Sketches of Frank Gehry\u003c/b> opens May 26, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frank Gehry’s artistic struggle was with the Modernist mantra that decoration is a sin. As an architect, how could one humanize a building without decoration? This is where his genius kicked in, he had a problem with the material world until he realized that the materials themselves could be expressive. Early in his career Gehry experimented with different kinds of industrial materials that were formerly thought of as ugly (corrugated steel, chain-link fence), but in the right combination and bent into the right shape, those materials became flexible and emotive.\u003c/p>\n\u003cp>The film is book-ended with sequences that evoked really powerful, connected, but conflicting emotions, which I think get to the heart of Gehry’s place at the nexus of art and architecture. The first is early on, during a montage of private homes Gehry has built in Los Angeles. The second comes toward the end of the film, when we see Maggie’s Place, a structure the architect produced pro-bono in memory of a friend who had succumbed to cancer. The first was about privilege. The homes were overwhelmingly beautiful, but were equally as inaccessible. This kind of beauty, this kind of life is only experienced by the very few and it felt like an excerpt from \u003cb>Lifestyles of the Rich and Famous\u003c/b>, expressing America’s obsession with celebrity culture and the longing for a life forever out of reach. In response to this feeling, Maggie’s Place is a salve, the most beautiful structure in the whole film — Bilbao be damned. The form itself spoke volumes about Gehry as a citizen of the world. It was built as a healing retreat for cancer patients and, though this hardly seems possible, seeing it made me feel like I knew Maggie, as though Gehry had created a portrait of his feelings for her out of wood and concrete and steel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Sketches of Frank Gehry\u003c/b> opens May 26, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The main target of \u003cb>Art School Confidential\u003c/b>, the second collaboration between graphic novelist Daniel Clowes and eccentric filmmaker extraordinaire Terry Zwigoff, is the herd mentality of the art world. This is ironic because most folks in the art world revere both Clowes and Zwigoff based on their past achievements, and will no doubt find something to love about this film, too. Clowes’ \u003cb>Ghost World\u003c/b> is a brilliant graphic novel that became an even greater work of art when transferred to film via Zwigoff’s deft touch. Zwigoff’s \u003cb>Crumb\u003c/b>, a loving documentary portrait of the irascible cartoonist R. Crumb is an indie film classic. My mind wanted to run with the herd, to hail whatever the two produced next as sharp and funny, offbeat and transgressive, but no such luck, \u003cb>Art School Confidential\u003c/b> is a dud.\u003c/p>\n\u003cp>The film’s indictment of art school is not bitter enough. Its portraits of various art school types skewer, but with a dull blade. The film throws out art school clichés for cheap laughs, which have nothing solid to stick to. What was great about \u003cb>Ghost World\u003c/b> is that it could make you laugh and then turn around and cram that laugh right back down your throat. That film was almost dangerous. This one is criminally tame. The art school stereotypes are so pathetic, it’s not really fair to laugh at them. As targets they are too easy, it’s like laughing at the Democrats.\u003c/p>\n\u003cp>Ultimately, the dualing plots boil down to one really dull love story. Sure, there is a serial strangler on the loose, picking off stray art students. Yes, a young and talented craftsman is constantly overshadowed by another student, whose work is so bad it looks like he is just now learning to draw. Both stories illuminate the hypocrisy of art school, where it’s not really about what you’ve made, but how easily others can project themselves into your work. Ultimately, these plotlines play second fiddle to the main boy-meets-girl story line, wherein our hapless hero falls for the unattainable nude artists’ model. Thud! It’s a LOVE story. How cute.\u003c/p>\n\u003cp>Finally, Max Minghella feels like he isn’t really engaged by his character, Jerome, an art student whose life long dream of being “the world’s greatest artist” is slowly being crushed by the coarse realities of the art world. As such, we don’t really care what happens to him. For a moment, it looked like he might even become the serial strangler’s next victim and I briefly wished that he would. Sophie Myles has nothing to give as the love interest, perhaps because her caricature (I mean character) was a stick figure sketched on the back of a napkin. Even John Malkovich isn’t bitter or biting or sardonic, qualities that have become synonymous with the man’s name. His character was sketched in a book of matches that no one strikes. Jim Broadbent and Angelica Huston show up, but are thrown away. What a waste! Zwigoff and Clowes, the two people best qualified to take the art world to task miss their chance by punking out, opting for the lame love story instead of the sharp satire. You want to love it. You really do.\u003c/p>\n\u003cp>Moo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> now playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The main target of \u003cb>Art School Confidential\u003c/b>, the second collaboration between graphic novelist Daniel Clowes and eccentric filmmaker extraordinaire Terry Zwigoff, is the herd mentality of the art world. This is ironic because most folks in the art world revere both Clowes and Zwigoff based on their past achievements, and will no doubt find something to love about this film, too. Clowes’ \u003cb>Ghost World\u003c/b> is a brilliant graphic novel that became an even greater work of art when transferred to film via Zwigoff’s deft touch. Zwigoff’s \u003cb>Crumb\u003c/b>, a loving documentary portrait of the irascible cartoonist R. Crumb is an indie film classic. My mind wanted to run with the herd, to hail whatever the two produced next as sharp and funny, offbeat and transgressive, but no such luck, \u003cb>Art School Confidential\u003c/b> is a dud.\u003c/p>\n\u003cp>The film’s indictment of art school is not bitter enough. Its portraits of various art school types skewer, but with a dull blade. The film throws out art school clichés for cheap laughs, which have nothing solid to stick to. What was great about \u003cb>Ghost World\u003c/b> is that it could make you laugh and then turn around and cram that laugh right back down your throat. That film was almost dangerous. This one is criminally tame. The art school stereotypes are so pathetic, it’s not really fair to laugh at them. As targets they are too easy, it’s like laughing at the Democrats.\u003c/p>\n\u003cp>Ultimately, the dualing plots boil down to one really dull love story. Sure, there is a serial strangler on the loose, picking off stray art students. Yes, a young and talented craftsman is constantly overshadowed by another student, whose work is so bad it looks like he is just now learning to draw. Both stories illuminate the hypocrisy of art school, where it’s not really about what you’ve made, but how easily others can project themselves into your work. Ultimately, these plotlines play second fiddle to the main boy-meets-girl story line, wherein our hapless hero falls for the unattainable nude artists’ model. Thud! It’s a LOVE story. How cute.\u003c/p>\n\u003cp>Finally, Max Minghella feels like he isn’t really engaged by his character, Jerome, an art student whose life long dream of being “the world’s greatest artist” is slowly being crushed by the coarse realities of the art world. As such, we don’t really care what happens to him. For a moment, it looked like he might even become the serial strangler’s next victim and I briefly wished that he would. Sophie Myles has nothing to give as the love interest, perhaps because her caricature (I mean character) was a stick figure sketched on the back of a napkin. Even John Malkovich isn’t bitter or biting or sardonic, qualities that have become synonymous with the man’s name. His character was sketched in a book of matches that no one strikes. Jim Broadbent and Angelica Huston show up, but are thrown away. What a waste! Zwigoff and Clowes, the two people best qualified to take the art world to task miss their chance by punking out, opting for the lame love story instead of the sharp satire. You want to love it. You really do.\u003c/p>\n\u003cp>Moo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Pick of the Week: Mean Machine\u003c/b>\u003cbr>This is how a remake should be done. \u003cb>Mean Machine\u003c/b> is a well done remake of the 1974 film \u003cb>The Longest Yard\u003c/b>, unlike the most recent Adam Sandler disaster. I’d really like to pretend that Sandler’s version never existed. I’d heard good things about this remake, so I checked it out. \u003c/p>\n\u003cp>This is a soccer movie set in prison. Just as in the original, it’s the guards versus the cons, with an ex-pro player leading the cons. \u003c/p>\n\u003cp>Vinnie Jones, probably most well-known as Big Chris in \u003cb>Lock, Stock, and Two Smoking Barrels\u003c/b>, plays the lead. He’s mostly been in supporting roles, from independent movies to this summer’s \u003cb>X-Men 3\u003c/b>, but he commands the screen throughout the film, and, with his pre-acting life as a pro footballer, he looks great in the action scenes. \u003c/p>\n\u003cp>The only actor who steals scenes from him is Jason “\u003cb>The Transporter\u003c/b>” Latham, who plays Monk, an inmate with a bodycount bigger than both starting lineups. His daydream sequences are priceless. \u003c/p>\n\u003cp>\u003cb>The Longest Yard\u003c/b> was a classic for late night cable, and is one of my favorite football films. I thought I would list some other sports films that are often overlooked. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>He Got Game\u003c/b>\u003cbr>Spike Lee used real life pro player Ray Allen for the lead, who did surprisingly well for a non-actor. Denzel plays his father, a jailed playground legend who never made it to the pros, as his son might. It’s a dark film, with one of Washington’s first well-acted unlikeable characters. I have no idea why this isn’t better known. It made little more than $20 million at the box office, which, for its era and budget is a disappointment. Maybe the storyline is too downbeat for the masses, but it’s a great film. \u003c/p>\n\u003cp>\u003cb>North Dallas Forty\u003c/b>\u003cbr>Before \u003cb>Any Given Sunday\u003c/b>, and ESPN’s \u003cb>Players\u003c/b> series, there was \u003cb>North Dallas Forty\u003c/b>, looking at the behind-the-scenes life of Dallas Cowboy Nick Nolte. Nolte is a broken down pro who’s held together by the unethical practices of team doctors. Gritty and the forerunner of many later films. \u003c/p>\n\u003cp>\u003cb>Hooked\u003c/b>\u003cbr>The best player to ever come out of Oakland was Demetrius “Hook” Mitchell. That’s the opinion of NBA ballers Gary Payton and Jason Kidd, among many others. Unfortunately, Mitchell was more interested in drugs and thuggery than getting to the pros. This documentary looks at his life as his prison release is eminent. Hook was imprisoned for robbing a video store in Oakland. \u003c/p>\n\u003cp>\u003cb>Soul in the Hole\u003c/b>\u003cbr>New York City’s Rucker Park is the birthplace of many a legend, both little known and NBA level talents. This documentary explores the lives of people with no national, but plenty of street fame. If you like the And 1 Streetball team, you’ll love this. \u003c/p>\n\u003cp>\u003cb>Jim Brown: All American\u003c/b>\u003cbr>Another Spike Lee film, this time the definitive documentary on Jim Brown, the man many consider to be the best football player ever. Lee showed this at film festivals, but as far as I know, it never got a regular theatrical release. Lee goes deep into Brown’s off-field life as well, including his famous friendship with Richard Pryor. \u003c/p>\n\u003cp>\u003cb>The Fish That Saved Pittsburgh\u003c/b>\u003cbr>Sadly, this film is not available yet on DVD. Jonathan Winters plays himself and his evil twin. I haven’t seen the movie since the early ’80s, so I can’t vouch for how good it is, as I was easily impressed back then. Dr. J plays the lead, and the cast is filled with the great ballers of the day, from Spencer Haywood to Connie Hawkins. Think \u003cb>Slapshot\u003c/b>, with basketball. \u003c/p>\n\u003cp>\u003cb>Pigs vs. Freaks\u003c/b>\u003cbr>Even though this was made in the ’80s, it’s set in the ’60s. Tony Randall is a hippie guru, who comes up with the idea that the hippies should play a game of flag football against the local cops. I’m only mentioning it because it’s completely bizarre. It’s maybe the worst sports film ever. I can understand when a bad sports film gets made about a popular sport, but flag football? With hippies? The touch football scenes in \u003cb>Eight is Enough\u003c/b> were better made.\u003c/p>\n\u003cp>\u003cb>Longshot\u003c/b>\u003cbr>If you ever see this coming on TV, please record it and send me a copy. This is a Foosball film with Kristy McNichol and Leif Garrett. Garrett plans to go to the $50,000 Foosball tournament in Vegas, but his partner breaks his hand. Along comes McNichol, but can a GIRL play Foosball? The story turns surreal when the Foosball scenes are in action. The Foosmen spin in slow motion. Also, Garrett has a secret move, that no one else in the history of Foosball has ever come up with or has a defense for, a bizarre move in which the Foosball itself flies over the men and goes straight into the goal. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I went to the wedding in Nowheresville, NV this weekend. I got by without the DVDs, but the coffee was unforgivable. I left Friday morning and returned Sunday evening, so I only got 8 DVDs in this week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>178 DVDs down, 322 to go. 141 days in, 224 to go. The pace is now at 10.06 per week. I have to get this number under 10 again. 11 this week. \u003c/p>\n\n",
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"content": "\u003cp>I watched four really fun ’80s films this week. My queue is pretty much all in random order at this point, but all of these films were ones I had seen on video back when they were new releases. Would I love them as much as I had when I was a teenager? How dated were they?\u003c/p>\n\u003cp>People in the ’80s smoked. In \u003cb>Midnight Run\u003c/b>, they smoke at the airport counter, on the plane, on a bus. People smoked at work, at home, in retail stores. It looked a little weird, like science fiction weird.\u003c/p>\n\u003cp>But science fiction weird was at its weirdest with \u003cb>Alien Nation\u003c/b>, a movie starring James Caan, Mandy Patankin, and Terrance Stamp. These three fine actors made their way through a film free of CGI, which relied on a story and acting to entertain the audience. Throughout the film, I kept thinking how a remake would cost $100 million and the entire third act would be a car chase, gun fight, and fistfight, with a time bomb option. At its heart though, this isn’t a science fiction film, but rather an earth-based cop flick with lots of earth-living extra-terrestrials. But the best cop flick of the bunch was William Friedkin’s \u003cb>To Live and Die In L.A\u003c/b>.\u003c/p>\n\u003cp>At the beginning, it appears to be a cliché festival. Near the beginning, William Petersen’s (\u003cb>CSI\u003c/b>, \u003cb>Manhunter\u003c/b>) partner barely makes it through the opening alive, regarding which he comments, “I’m getting too old for this shit.” Wang Chung contributes the soundtrack. There’s a bar with unexplained performance art dancers in black and white makeup. There’s the requisite car chase that Friedkin delivers in style, much like what he did in \u003cb>The French Connection\u003c/b>. Then, near the end, the movie takes some very not clichéd turns. Still, it’s not nearly as well known as his horror film, \u003cb>The Exorcist\u003c/b>. But the horror was seen in my pick of the week, \u003cb>The Stuff\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\u003cb>The Stuff\u003c/b> is a Larry Cohen film about a mysterious dessert. No, not a mysterious desert, a mysterious \u003cb>dessert\u003c/b> called The Stuff that takes over the stomachs of the American public. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Long before anyone talked about bio-engineered foods, Cohen produced, wrote, and directed this tale about a dessert you would die for, literally. Cohen is the writer, director, and producer of a lot of films that I love: \u003cb>Bone\u003c/b>, \u003cb>Black Caesar\u003c/b>, \u003cb>God Told Me To\u003c/b>, \u003cb>Q: The Winged Serpent\u003c/b>, and \u003cb>It’s Alive\u003c/b>.\u003c/p>\n\u003cp>Michael Moriarity, a Cohen regular, plays a sleazy corporate investigator hired by some dessert companies to find out just what The Stuff is. He takes the job, but soon runs into more opposition than he realized. One person who does help him is Chocolate Chip Charlie, a Famous Amos type character, played by Garrett Morris. Much later, Paul Sorvino, as a Paramilitary Separatist, provides him with much needed firepower and backup. \u003c/p>\n\u003cp>\u003cb>The Stuff\u003c/b> is part homage to Commie Scare scifi and horror of the ’50s, in movies like \u003cb>Invasion of the Body Snatchers\u003c/b>, and the fun fake looking monsters that still manage to leave the viewer yelling at the screen, like \u003cb>The Blob\u003c/b>. Cohen puts these elements in ’80s America to nice effect. \u003c/p>\n\u003cp>The fun comes from the TV Commercials, one starring Clara “Where’s the Beef?” Peller, the advertising, the labels, and the pervasive pints of creamy goodness on everyone’s shelves. When The Stuff goes into action, it’s hilarious, while still being suspenseful. \u003c/p>\n\u003cp>I didn’t have time to rewatch the film with the commentary track on, but I’ve watched four of his other films with commentary, that really added to my experience of how Cohen made his films and why. \u003c/p>\n\u003cp>There were several good films, but this is the one I think you would have missed without my recommendation. But I’ve said enough already. Get this one. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>134 days in, 231 days left. 170 discs in, 330 left. This leaves us at…9.99 discs per week! I’m under ten again, for the first time since January or something. I think I have figured out the rhythm; it’s mostly how much I can watch before Thursday’s mail pickup. But this week brings me a wedding of two friends. \u003c/p>\n\u003cp>I’m not sure what to do. I’m going, I’m going, it’s somewhere outside Tahoe, and I’ve already caught a ride. I’m not sure if I should pick up one of those portable DVD players or not. Maybe I can cram ten movies in before Friday’s departure, leaving me to write the column when I come back Sunday night. \u003c/p>\n\u003cp>However, Wednesday night I have plans, which should take up most of the evening. This brings up some of the questions that I receive emailed to me. \u003c/p>\n\u003cp>The number one question is “how do you find the time to watch all these movies?” I have a full time job. People are assuming that I don’t work, that I’m either independently wealthy, I live off someone else, or that I’m making enough money writing this column that I can earn a living. None of those assumptions are true. (Editor: All true, painfully so.) I do, however, live across the street from where I work. Aside from having virtually no commute time, this lets me come home from work at lunch and watch a half hour or so a day. That’s 100 hours this year if I did it every day. \u003c/p>\n\u003cp>The second question is more of a statement. “You must be doing nothing but watching movies.” Not nothing, but less than last year. I go out. I still go by The Dark Room to see plays, I go to The Hemlock Tavern for the Club Chuckles comedy night, and I show up at various readings and performances around town. I do find myself heading home early from someplace like the El Rio, from watching a band, to get home to watch movies. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Please, email comments, suggestions to \u003ca href=\"mailto:bucky@kqed.org\">bucky@kqed.org\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I watched four really fun ’80s films this week. My queue is pretty much all in random order at this point, but all of these films were ones I had seen on video back when they were new releases. Would I love them as much as I had when I was a teenager? How dated were they?\u003c/p>\n\u003cp>People in the ’80s smoked. In \u003cb>Midnight Run\u003c/b>, they smoke at the airport counter, on the plane, on a bus. People smoked at work, at home, in retail stores. It looked a little weird, like science fiction weird.\u003c/p>\n\u003cp>But science fiction weird was at its weirdest with \u003cb>Alien Nation\u003c/b>, a movie starring James Caan, Mandy Patankin, and Terrance Stamp. These three fine actors made their way through a film free of CGI, which relied on a story and acting to entertain the audience. Throughout the film, I kept thinking how a remake would cost $100 million and the entire third act would be a car chase, gun fight, and fistfight, with a time bomb option. At its heart though, this isn’t a science fiction film, but rather an earth-based cop flick with lots of earth-living extra-terrestrials. But the best cop flick of the bunch was William Friedkin’s \u003cb>To Live and Die In L.A\u003c/b>.\u003c/p>\n\u003cp>At the beginning, it appears to be a cliché festival. Near the beginning, William Petersen’s (\u003cb>CSI\u003c/b>, \u003cb>Manhunter\u003c/b>) partner barely makes it through the opening alive, regarding which he comments, “I’m getting too old for this shit.” Wang Chung contributes the soundtrack. There’s a bar with unexplained performance art dancers in black and white makeup. There’s the requisite car chase that Friedkin delivers in style, much like what he did in \u003cb>The French Connection\u003c/b>. Then, near the end, the movie takes some very not clichéd turns. Still, it’s not nearly as well known as his horror film, \u003cb>The Exorcist\u003c/b>. But the horror was seen in my pick of the week, \u003cb>The Stuff\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\u003cb>The Stuff\u003c/b> is a Larry Cohen film about a mysterious dessert. No, not a mysterious desert, a mysterious \u003cb>dessert\u003c/b> called The Stuff that takes over the stomachs of the American public. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Long before anyone talked about bio-engineered foods, Cohen produced, wrote, and directed this tale about a dessert you would die for, literally. Cohen is the writer, director, and producer of a lot of films that I love: \u003cb>Bone\u003c/b>, \u003cb>Black Caesar\u003c/b>, \u003cb>God Told Me To\u003c/b>, \u003cb>Q: The Winged Serpent\u003c/b>, and \u003cb>It’s Alive\u003c/b>.\u003c/p>\n\u003cp>Michael Moriarity, a Cohen regular, plays a sleazy corporate investigator hired by some dessert companies to find out just what The Stuff is. He takes the job, but soon runs into more opposition than he realized. One person who does help him is Chocolate Chip Charlie, a Famous Amos type character, played by Garrett Morris. Much later, Paul Sorvino, as a Paramilitary Separatist, provides him with much needed firepower and backup. \u003c/p>\n\u003cp>\u003cb>The Stuff\u003c/b> is part homage to Commie Scare scifi and horror of the ’50s, in movies like \u003cb>Invasion of the Body Snatchers\u003c/b>, and the fun fake looking monsters that still manage to leave the viewer yelling at the screen, like \u003cb>The Blob\u003c/b>. Cohen puts these elements in ’80s America to nice effect. \u003c/p>\n\u003cp>The fun comes from the TV Commercials, one starring Clara “Where’s the Beef?” Peller, the advertising, the labels, and the pervasive pints of creamy goodness on everyone’s shelves. When The Stuff goes into action, it’s hilarious, while still being suspenseful. \u003c/p>\n\u003cp>I didn’t have time to rewatch the film with the commentary track on, but I’ve watched four of his other films with commentary, that really added to my experience of how Cohen made his films and why. \u003c/p>\n\u003cp>There were several good films, but this is the one I think you would have missed without my recommendation. But I’ve said enough already. Get this one. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>134 days in, 231 days left. 170 discs in, 330 left. This leaves us at…9.99 discs per week! I’m under ten again, for the first time since January or something. I think I have figured out the rhythm; it’s mostly how much I can watch before Thursday’s mail pickup. But this week brings me a wedding of two friends. \u003c/p>\n\u003cp>I’m not sure what to do. I’m going, I’m going, it’s somewhere outside Tahoe, and I’ve already caught a ride. I’m not sure if I should pick up one of those portable DVD players or not. Maybe I can cram ten movies in before Friday’s departure, leaving me to write the column when I come back Sunday night. \u003c/p>\n\u003cp>However, Wednesday night I have plans, which should take up most of the evening. This brings up some of the questions that I receive emailed to me. \u003c/p>\n\u003cp>The number one question is “how do you find the time to watch all these movies?” I have a full time job. People are assuming that I don’t work, that I’m either independently wealthy, I live off someone else, or that I’m making enough money writing this column that I can earn a living. None of those assumptions are true. (Editor: All true, painfully so.) I do, however, live across the street from where I work. Aside from having virtually no commute time, this lets me come home from work at lunch and watch a half hour or so a day. That’s 100 hours this year if I did it every day. \u003c/p>\n\u003cp>The second question is more of a statement. “You must be doing nothing but watching movies.” Not nothing, but less than last year. I go out. I still go by The Dark Room to see plays, I go to The Hemlock Tavern for the Club Chuckles comedy night, and I show up at various readings and performances around town. I do find myself heading home early from someplace like the El Rio, from watching a band, to get home to watch movies. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The summer movie season is upon us and like a tidal wave, it threatens to drown viewers in a flood of over-hyped, mass produced, and candy coated CGI confections. Who hasn’t occasionally been seduced and caught up in the hype of the much-anticipated next best thing? Marketing people are paid a hefty sum of money to discern our weakness, go for the jugular and convince us to part with our hard-earned cash, in order to get our asses in the seats. Like the lure of an intense sugar craving, the summer Blockbuster dangles the promise of an overwhelming experience, an intense symphony of glorious flavors and some sort of satisfaction. But let’s face it, like any sugar fix, it’s a splurge, a visceral hit of the senses, ultimately full of empty calories. The minute you walk into a theater, you have made a commitment and your time is non-refundable. It is two-plus hours spent in a movie that dazzles the senses, delights in multi-million dollar CGI special effects, but ultimately like any consumer-driven purchase leaves me feeling empty, perhaps even a little sad. In the words of great old Peggy Lee, “Is that all there is?”\u003c/p>\n\u003cp>So as the movie brands start rolling out their products, I wanted to point out films that might be easily overlooked because of their lack of million-dollar marketing budgets.\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> is still a big budget film by my standards, but how can you go wrong with a kid struggling through the intricacies, pitfalls and general maze of art school? Beginning with \u003cb>Crumb\u003c/b>, Terry Zwigoff has been adept at creating loving portraits of oddballs and outsiders that exist at the fringes of our bland super-sized culture. Consider this film a low key and humorous anecdote to the \u003cb>M:I:III\u003c/b> school of filmmaking, something a little smaller, more intimate and a lot less loud.\u003c/p>\n\u003cp>If you do want to revel in a little violence, blood and action why not take a peek at \u003cb>The Proposition\u003c/b>, the highly atmospheric and surreal gothic Western penned by Nick Cave and directed by John Hillcoat. With stand out performances by Guy Pierce and character actor Ray Winstone, this strange story of outlaw brothers, set in the dusty outback, touches on issues of family loyalty, betrayal and the corruption of law and order at any level. This film is not for the faint of heart.\u003c/p>\n\u003cp>Summertime seems like the opportune moment to crawl into a dark theater. If you can’t actually afford to go anywhere because you’re renting a closet for $700 a month in beautiful San Francisco, why not live vicariously by watching a road trip movie. I know the two Duplass brothers are Sundance golden boys, but \u003cb>The Puffy Chair\u003c/b> seems like a very sweet mis-adventure with a Lazy Boy recliner as the centerpiece of the film. Josh, a lovable loser winds his way back home to deliver a Lazy Boy recliner to his father, along for the ride and to complicate matter are his girlfriend, Emily and his brother Rhett. Things get tight in the van and of course there will be plenty of miscommunication, but I for one am yearning for a good road trip movie. I know these guys won’t be jet-setting around the globe trying to break some ancient historic code, but lets face it neither will you, so come down to earth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is some serious corruption and insanity going on in the world today. Guantánamo and the evident torture going on at the prison is the 900-pound gorilla in the room that no one wants to talk about. Who would have thought — even five years ago, that there would be a secret (and yet not so secret) detention and torture center run by the United States in Cuba that holds detainees without clear charges, without a trial, and does so indefinitely?\u003c/p>\n\u003cp>\u003cb>The Road to Guantánamo\u003c/b>, co-directed by Michael Winterbottom and Matt Whitecross, is a blend of drama and documentary (as the filmmakers certainly didn’t have access to the prison) that focuses on a trio of British Muslims held in Guantánamo Bay for two years until they were released without charge. These are real people recreating their time at a concentration camp. It’s time to stop closing our eyes to this despicable place and see what is happening under our noses. Rather than seeing some pro-war propaganda film, bear witness to the true brutality of the “War on Terror.”\u003c/p>\n\u003cp>I hated the film \u003cb>Kids\u003c/b> by Larry Clark, but I was almost moved to tears the first time I saw the \u003cb>Tulsa\u003c/b>, the series of photographs he produced as a young man. His portraits were explicit yet innocent in their view of an abandoned, lost generation of kids playing adults and being seduced by the darker side of sex and drugs. Maybe it was his intimacy and proximity to the scene that made him seem like a friend, more than a voyeur.\u003c/p>\n\u003cp>I have high hopes for \u003cb>Wassup Rockers\u003c/b>, about a group of skate boarding, punk rock loving, Latino teenagers who don’t conform to the dominant hip-hop culture of the South Central neighborhood they live in. A majority of the kids are non-actors, which should add spontaneity to the performances and authenticity to the “scene” Clark is attempting to capture. In the grand tradition of the mythical \u003cb>Odyssey\u003c/b> and \u003cb>The Warriors\u003c/b>, \u003cb>Wassup Rockers\u003c/b> takes the kids on a journey from South Central to the heart of Beverly Hills and tracks their wild ride as they attempt to get back to the relative safety of home while being chased by the police, targeted by Beverly Hills residents and seducing girls with their boyish charms.\u003c/p>\n\u003cp>My friend Jan, who usually falls asleep during movies, managed to keep his eyes wide open and even shed a tear during the screening of \u003cb>The Motel\u003c/b> at the San Francisco Asian International Film Festival. \u003cb>The Motel\u003c/b> directed by Michael Kang is finally being released in the United States and it’s about time. The story focuses on Ernest Chin, a chubby thirteen year old heading into puberty, while he lives and works at a sleazy and desolate motel run by his family. He meets a man who has checked into the hotel and through their intimate relationship the young boy begins to grow up with the guidance of a father figure he’s never had. A very touching and quiet film, the kind of drama that unfolds without being melodramatic. The young actor is amazing, and who doesn’t have a soft spot for the chubby kid, trying to find a place for himself in this cold, mean world?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are so many more films coming out this summer that don’t seem to stand a chance against the Big Monster Movies, but at least give some of the underdogs a try. Remember you don’t need the empty calories or the ugly sugar hangover of a Blockbuster!!!\u003c/p>\n\n",
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"excerpt": "The summer movie season is upon us and like a tidal wave, it threatens to drown viewers in a flood of over-hyped, mass produced, and candy coated CGI confections. Who hasn't occasionally been seduced and caught up in the hype of the much-anticipated next best thing? Marketing people are paid a hefty sum of money to discern our weakness, go for the jugular and convince us to part with our hard-earned cash, in order to get our asses in the seats. Like the lure of an intense sugar craving, the summer Blockbuster dangles the promise of an overwhelming experience, an intense symphony of glorious flavors and some sort of satisfaction. But let's face it, like any sugar fix, it's a splurge, a visceral hit of the senses, ultimately full of empty calories. The minute you walk into a theater, you have made a commitment and your time is non-refundable. It is two-plus hours spent in a movie that dazzles the senses, delights in multi-million dollar CGI special effects, but ultimately like any consumer-driven purchase leaves me feeling empty, perhaps even a little sad. In the words of great old Peggy Lee, \"Is that all there is?\"",
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"description": "The summer movie season is upon us and like a tidal wave, it threatens to drown viewers in a flood of over-hyped, mass produced, and candy coated CGI confections. Who hasn't occasionally been seduced and caught up in the hype of the much-anticipated next best thing? Marketing people are paid a hefty sum of money to discern our weakness, go for the jugular and convince us to part with our hard-earned cash, in order to get our asses in the seats. Like the lure of an intense sugar craving, the summer Blockbuster dangles the promise of an overwhelming experience, an intense symphony of glorious flavors and some sort of satisfaction. But let's face it, like any sugar fix, it's a splurge, a visceral hit of the senses, ultimately full of empty calories. The minute you walk into a theater, you have made a commitment and your time is non-refundable. It is two-plus hours spent in a movie that dazzles the senses, delights in multi-million dollar CGI special effects, but ultimately like any consumer-driven purchase leaves me feeling empty, perhaps even a little sad. In the words of great old Peggy Lee, "Is that all there is?"",
"title": "Nevermind the Blockbusters | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The summer movie season is upon us and like a tidal wave, it threatens to drown viewers in a flood of over-hyped, mass produced, and candy coated CGI confections. Who hasn’t occasionally been seduced and caught up in the hype of the much-anticipated next best thing? Marketing people are paid a hefty sum of money to discern our weakness, go for the jugular and convince us to part with our hard-earned cash, in order to get our asses in the seats. Like the lure of an intense sugar craving, the summer Blockbuster dangles the promise of an overwhelming experience, an intense symphony of glorious flavors and some sort of satisfaction. But let’s face it, like any sugar fix, it’s a splurge, a visceral hit of the senses, ultimately full of empty calories. The minute you walk into a theater, you have made a commitment and your time is non-refundable. It is two-plus hours spent in a movie that dazzles the senses, delights in multi-million dollar CGI special effects, but ultimately like any consumer-driven purchase leaves me feeling empty, perhaps even a little sad. In the words of great old Peggy Lee, “Is that all there is?”\u003c/p>\n\u003cp>So as the movie brands start rolling out their products, I wanted to point out films that might be easily overlooked because of their lack of million-dollar marketing budgets.\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b> is still a big budget film by my standards, but how can you go wrong with a kid struggling through the intricacies, pitfalls and general maze of art school? Beginning with \u003cb>Crumb\u003c/b>, Terry Zwigoff has been adept at creating loving portraits of oddballs and outsiders that exist at the fringes of our bland super-sized culture. Consider this film a low key and humorous anecdote to the \u003cb>M:I:III\u003c/b> school of filmmaking, something a little smaller, more intimate and a lot less loud.\u003c/p>\n\u003cp>If you do want to revel in a little violence, blood and action why not take a peek at \u003cb>The Proposition\u003c/b>, the highly atmospheric and surreal gothic Western penned by Nick Cave and directed by John Hillcoat. With stand out performances by Guy Pierce and character actor Ray Winstone, this strange story of outlaw brothers, set in the dusty outback, touches on issues of family loyalty, betrayal and the corruption of law and order at any level. This film is not for the faint of heart.\u003c/p>\n\u003cp>Summertime seems like the opportune moment to crawl into a dark theater. If you can’t actually afford to go anywhere because you’re renting a closet for $700 a month in beautiful San Francisco, why not live vicariously by watching a road trip movie. I know the two Duplass brothers are Sundance golden boys, but \u003cb>The Puffy Chair\u003c/b> seems like a very sweet mis-adventure with a Lazy Boy recliner as the centerpiece of the film. Josh, a lovable loser winds his way back home to deliver a Lazy Boy recliner to his father, along for the ride and to complicate matter are his girlfriend, Emily and his brother Rhett. Things get tight in the van and of course there will be plenty of miscommunication, but I for one am yearning for a good road trip movie. I know these guys won’t be jet-setting around the globe trying to break some ancient historic code, but lets face it neither will you, so come down to earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is some serious corruption and insanity going on in the world today. Guantánamo and the evident torture going on at the prison is the 900-pound gorilla in the room that no one wants to talk about. Who would have thought — even five years ago, that there would be a secret (and yet not so secret) detention and torture center run by the United States in Cuba that holds detainees without clear charges, without a trial, and does so indefinitely?\u003c/p>\n\u003cp>\u003cb>The Road to Guantánamo\u003c/b>, co-directed by Michael Winterbottom and Matt Whitecross, is a blend of drama and documentary (as the filmmakers certainly didn’t have access to the prison) that focuses on a trio of British Muslims held in Guantánamo Bay for two years until they were released without charge. These are real people recreating their time at a concentration camp. It’s time to stop closing our eyes to this despicable place and see what is happening under our noses. Rather than seeing some pro-war propaganda film, bear witness to the true brutality of the “War on Terror.”\u003c/p>\n\u003cp>I hated the film \u003cb>Kids\u003c/b> by Larry Clark, but I was almost moved to tears the first time I saw the \u003cb>Tulsa\u003c/b>, the series of photographs he produced as a young man. His portraits were explicit yet innocent in their view of an abandoned, lost generation of kids playing adults and being seduced by the darker side of sex and drugs. Maybe it was his intimacy and proximity to the scene that made him seem like a friend, more than a voyeur.\u003c/p>\n\u003cp>I have high hopes for \u003cb>Wassup Rockers\u003c/b>, about a group of skate boarding, punk rock loving, Latino teenagers who don’t conform to the dominant hip-hop culture of the South Central neighborhood they live in. A majority of the kids are non-actors, which should add spontaneity to the performances and authenticity to the “scene” Clark is attempting to capture. In the grand tradition of the mythical \u003cb>Odyssey\u003c/b> and \u003cb>The Warriors\u003c/b>, \u003cb>Wassup Rockers\u003c/b> takes the kids on a journey from South Central to the heart of Beverly Hills and tracks their wild ride as they attempt to get back to the relative safety of home while being chased by the police, targeted by Beverly Hills residents and seducing girls with their boyish charms.\u003c/p>\n\u003cp>My friend Jan, who usually falls asleep during movies, managed to keep his eyes wide open and even shed a tear during the screening of \u003cb>The Motel\u003c/b> at the San Francisco Asian International Film Festival. \u003cb>The Motel\u003c/b> directed by Michael Kang is finally being released in the United States and it’s about time. The story focuses on Ernest Chin, a chubby thirteen year old heading into puberty, while he lives and works at a sleazy and desolate motel run by his family. He meets a man who has checked into the hotel and through their intimate relationship the young boy begins to grow up with the guidance of a father figure he’s never had. A very touching and quiet film, the kind of drama that unfolds without being melodramatic. The young actor is amazing, and who doesn’t have a soft spot for the chubby kid, trying to find a place for himself in this cold, mean world?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are so many more films coming out this summer that don’t seem to stand a chance against the Big Monster Movies, but at least give some of the underdogs a try. Remember you don’t need the empty calories or the ugly sugar hangover of a Blockbuster!!!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Q-500 Experiment: The Work of Catherine Hardwicke | KQED",
"content": "\u003cp>\u003cb>Pick of the Week: The Work of Catherine Hardwicke\u003c/b>\u003cbr>My pick of the week is not just a film but a remarkable writer, director, and production designer by the name of Catherine Hardwicke. I watched \u003cb>Lords of Dogtown\u003c/b> this week, and the name seemed familiar. I looked up her name and soon saw why.\u003c/p>\n\u003cp>Many people are not familiar with the role of the production designer. He or she works with the director and producers to determine the overall atmosphere, look, and feel of the finished film. From these choices, the sets, props, lighting, and anything else that would influence the final product are all decided upon. It’s a role that isn’t so well known but absolutely crucial to the outcome of the film.\u003c/p>\n\u003cp>Hardwicke started in the business as a production designer and worked her way up the ladder. Her first credits are on the underrated 1988 Tim Robbins and John Cusack cult hit \u003cb>Tapeheads\u003c/b>, and on the Keenan Ivory Wayons blaxploitation parody \u003cb>I’m Gonna Git You, Sucka\u003c/b> the same year. Later she did two westerns, \u003cb>Posse\u003c/b> and \u003cb>Tombstone\u003c/b> in 1993, the same year she did the hilarious and bizarre \u003cb>Freaked\u003c/b> with Alex Winter. In 1995, she worked on the post apocalyptic and cartoony (who can forget Ice T dressed as a mutant kangaroo?) \u003cb>Tank Girl\u003c/b> (who can forget Lori Petty? Except Hollywood?). After Richard Linklater’s \u003cb>SubUrbia\u003c/b>, Hardwicke took a turn at the big budget films \u003cb>Three Kings\u003c/b> and \u003cb>Vanilla Sky\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Three Kings\u003c/b> changed the way a lot of films look. The style of the \u003cb>CSI\u003c/b> franchise can be seen here in Hardwicke’s breakthrough job. Its use of color and strange special effects pushed the movie from watchable army heist to a movie worth multiple viewings.\u003c/p>\n\u003cp>There was a lot wrong with \u003cb>Vanilla Sky\u003c/b>, mostly its script that was entirely derivative of Philip K. Dick’s novel \u003cb>Ubik\u003c/b>. I was never able to see the original film, maybe that was better. But what I did love about it was the look, it kept me watching and I really wanted to find more about the film I liked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her first role as director, she won a slew of awards with \u003cb>Thirteen\u003c/b>, including the Sundance award for directing. The film gathered up nominations of all kinds, for various roles. Across the board, it was a big hit. I don’t know if there was a major nomination that didn’t include it for some category.\u003c/p>\n\u003cp>\u003cb>Lords of Dogtown\u003c/b> wouldn’t have been very good without the special attention it received. It had all the little things a film needs to succeed. Most importantly, the skating scenes were awesome. One only needs to see a boring surf flick to realize this importance. The music was varied and not the usual ’70s soundtrack. The script was written by one of the seminal skateboarding legends, Stacey Peralta.\u003c/p>\n\u003cp>Check out \u003cb>Lords of Dogtown\u003c/b>, but if you’ve seen it already, pick something else of Hardwicke’s.\u003c/p>\n\u003cp>\u003cb>Week in Review:\u003c/b>\u003cbr>\u003cb>The Worsties\u003c/b>\u003cbr>My attitude is growing increasingly negative. Maybe I should’ve picked the movies with a little more discrimination. Maybe I can’t watch this many films and put up with small items of distaste. I keep thinking that I’ve seen the worst performance of the year, the worst car chase, the worst action scene, but those ideas are easily wiped out with the next week’s viewing of more of Hollywood’s worst. The only ideas that I could come up with to get me through the next 8 months of this project is to have my own awards for the horrible ideas, acting, plots, and ephemera of American cinema.What else to call them but \u003cb>The Worsties\u003c/b>?\u003c/p>\n\u003cp>Ladies and Gentlemen, may I present running nominations for \u003cb>The Worsties\u003c/b>:\u003c/p>\n\u003cp>\u003cb>Worst Robert DeNiro Imitation\u003c/b>: \u003cbr>Robert DeNiro, \u003cb>Godsend\u003c/b>. I loved him in \u003cb>Jackie Brown\u003c/b>, but in the next nine years, he’s done nothing I cared for. Even \u003cb>Analyze This\u003c/b> seemed like a parody of his other brilliant earlier characters. Can’t Scorsese set him back on track?\u003c/p>\n\u003cp>\u003cb>Worst Drug Scene\u003c/b>: \u003cbr>Everyone taking Ecstasy in \u003cb>Out of Order\u003c/b>. Cocaine is hack now, but Ecstasy is the new pot-smoking-and-bonding scene. Is it possible to show an Ecstasy scene without some song blaring over the whole thing?\u003c/p>\n\u003cp>\u003cb>Worst Sex Scene\u003c/b>: \u003cbr>Marky Mark getting to 3rd base with Reese Witherspoon on a Roller Coaster in \u003cb>Fear\u003c/b>. It was like some anti-sex commercial made by conservative Christians.\u003c/p>\n\u003cp>\u003cb>Worst Euphemism for a Sexual Practice\u003c/b>: \u003cbr>\u003cb>NBT:Never Been Thawed\u003c/b> for \u003cb>Rusty Trombone\u003c/b>. I’m not printing what the practice is. If you really want to know, email me at bucky@kqed.org. What got me more than anything, was that an entire scene and character was built around explaining the practice.\u003c/p>\n\u003cp>\u003cb>Worst Birthing Moment\u003c/b>: \u003cbr>A tie.\u003cbr> 1.\u003cb>Godsend\u003c/b> — If Rebecca Romjin gave birth to a baby that big in real life, she would’ve been torn apart like the dude in the movie \u003cb>Alien\u003c/b>. Also, the delivery room looked as real as a Mr. Show sketch: it was dimly lit and there was barely anything in it. 2. \u003cb>Mi Familia\u003c/b> — The baby pops out as easily as a Pop Tart from a toaster, but then the mother dies.\u003c/p>\n\u003cp>\u003cb>Worst Title\u003c/b>:\u003cbr>A tie.\u003cbr> 1. \u003cb>Web of the Spider\u003c/b> — There were few webs, and no spiders.\u003cbr>2. \u003cb>The Vampire Clan\u003c/b>. — No vampires.\u003cbr>3.\u003cb>Ordinary People\u003c/b> — There are no ordinary people in this film.\u003c/p>\n\u003cp>\u003cb>Worst Use of Klaus Kinski\u003c/b>:\u003cbr>\u003cb>Web of the Spider\u003c/b>, \u003cb>To Kill a Jackal\u003c/b>, \u003cb>Dragon Strikes Back\u003c/b>\u003c/p>\n\u003cp>\u003cb>Worst Casting of a Non Actor\u003c/b>:\u003cbr>\u003cb>Coffee and Cigarettes\u003c/b>, most of it. but especially Jack and Meg White, the absolute worst actors I’ve ever seen, including in beginning improv classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>127 days done, 238 days left, 159 discs watched, 341 left. 10.03 per week to keep pace. I got another 11 out of the way this week. On to 11 more.\u003c/p>\n\n",
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"excerpt": "My pick of the week is not just a film but a remarkable writer, director, and production designer by the name of Catherine Hardwicke. I watched \u003cb>Lords of Dogtown\u003c/b> this week, and the name seemed familiar. I looked up her name and soon saw why. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her first role as director, she won a slew of awards with \u003cb>Thirteen\u003c/b>, including the Sundance award for directing. The film gathered up nominations of all kinds, for various roles. Across the board, it was a big hit. I don’t know if there was a major nomination that didn’t include it for some category.\u003c/p>\n\u003cp>\u003cb>Lords of Dogtown\u003c/b> wouldn’t have been very good without the special attention it received. It had all the little things a film needs to succeed. Most importantly, the skating scenes were awesome. One only needs to see a boring surf flick to realize this importance. The music was varied and not the usual ’70s soundtrack. The script was written by one of the seminal skateboarding legends, Stacey Peralta.\u003c/p>\n\u003cp>Check out \u003cb>Lords of Dogtown\u003c/b>, but if you’ve seen it already, pick something else of Hardwicke’s.\u003c/p>\n\u003cp>\u003cb>Week in Review:\u003c/b>\u003cbr>\u003cb>The Worsties\u003c/b>\u003cbr>My attitude is growing increasingly negative. Maybe I should’ve picked the movies with a little more discrimination. Maybe I can’t watch this many films and put up with small items of distaste. I keep thinking that I’ve seen the worst performance of the year, the worst car chase, the worst action scene, but those ideas are easily wiped out with the next week’s viewing of more of Hollywood’s worst. The only ideas that I could come up with to get me through the next 8 months of this project is to have my own awards for the horrible ideas, acting, plots, and ephemera of American cinema.What else to call them but \u003cb>The Worsties\u003c/b>?\u003c/p>\n\u003cp>Ladies and Gentlemen, may I present running nominations for \u003cb>The Worsties\u003c/b>:\u003c/p>\n\u003cp>\u003cb>Worst Robert DeNiro Imitation\u003c/b>: \u003cbr>Robert DeNiro, \u003cb>Godsend\u003c/b>. I loved him in \u003cb>Jackie Brown\u003c/b>, but in the next nine years, he’s done nothing I cared for. Even \u003cb>Analyze This\u003c/b> seemed like a parody of his other brilliant earlier characters. Can’t Scorsese set him back on track?\u003c/p>\n\u003cp>\u003cb>Worst Drug Scene\u003c/b>: \u003cbr>Everyone taking Ecstasy in \u003cb>Out of Order\u003c/b>. Cocaine is hack now, but Ecstasy is the new pot-smoking-and-bonding scene. Is it possible to show an Ecstasy scene without some song blaring over the whole thing?\u003c/p>\n\u003cp>\u003cb>Worst Sex Scene\u003c/b>: \u003cbr>Marky Mark getting to 3rd base with Reese Witherspoon on a Roller Coaster in \u003cb>Fear\u003c/b>. It was like some anti-sex commercial made by conservative Christians.\u003c/p>\n\u003cp>\u003cb>Worst Euphemism for a Sexual Practice\u003c/b>: \u003cbr>\u003cb>NBT:Never Been Thawed\u003c/b> for \u003cb>Rusty Trombone\u003c/b>. I’m not printing what the practice is. If you really want to know, email me at bucky@kqed.org. What got me more than anything, was that an entire scene and character was built around explaining the practice.\u003c/p>\n\u003cp>\u003cb>Worst Birthing Moment\u003c/b>: \u003cbr>A tie.\u003cbr> 1.\u003cb>Godsend\u003c/b> — If Rebecca Romjin gave birth to a baby that big in real life, she would’ve been torn apart like the dude in the movie \u003cb>Alien\u003c/b>. Also, the delivery room looked as real as a Mr. Show sketch: it was dimly lit and there was barely anything in it. 2. \u003cb>Mi Familia\u003c/b> — The baby pops out as easily as a Pop Tart from a toaster, but then the mother dies.\u003c/p>\n\u003cp>\u003cb>Worst Title\u003c/b>:\u003cbr>A tie.\u003cbr> 1. \u003cb>Web of the Spider\u003c/b> — There were few webs, and no spiders.\u003cbr>2. \u003cb>The Vampire Clan\u003c/b>. — No vampires.\u003cbr>3.\u003cb>Ordinary People\u003c/b> — There are no ordinary people in this film.\u003c/p>\n\u003cp>\u003cb>Worst Use of Klaus Kinski\u003c/b>:\u003cbr>\u003cb>Web of the Spider\u003c/b>, \u003cb>To Kill a Jackal\u003c/b>, \u003cb>Dragon Strikes Back\u003c/b>\u003c/p>\n\u003cp>\u003cb>Worst Casting of a Non Actor\u003c/b>:\u003cbr>\u003cb>Coffee and Cigarettes\u003c/b>, most of it. but especially Jack and Meg White, the absolute worst actors I’ve ever seen, including in beginning improv classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>127 days done, 238 days left, 159 discs watched, 341 left. 10.03 per week to keep pace. I got another 11 out of the way this week. On to 11 more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Q-500 Experiment: An Open Letter to Pam Grier",
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"content": "\u003cp>\u003cb>An Open Letter to Pam Grier\u003c/b>\u003c/p>\n\u003cp>For the way you hide razor blades and small pistols in your hair, for the way you run over a druglord’s goons both forward and in reverse, for the way you fight with a barstool, for the never ending closet of jaw dropping outfits, and most of all for your undying devotion and love for your man, I have totally and completely fallen for you.\u003c/p>\n\u003cp>But your boyfriends have short lifespans. I watched \u003cb>Foxy Brown\u003c/b> and \u003cb>Coffy \u003c/b>this week, and while you possess every quality I could ever want in a partner plus attributes I never would have thought of on my own, our relationship would be short lived in the most literal sense of the word. Right when we really got our groove going, I would undoubtedly be beaten into a coma by smack dealers or be shot by mafia goons while bringing you flowers. I would do anything for you, Pam Grier, but I don’t want to die young and melodramatically in your arms.\u003c/p>\n\u003cp>Your boyfriends are like red shirted security forces in Star Trek, like the cop 3 days away from retirement, like the slutty girl in a slasher flick, like a virgin soldier in a war movie: they all die, without exception, and before the second act. They die coughing up blood-bubbled I-love-you’s with copious amounts of red dyed corn syrup on their butterfly collared shirts. They are shot in the back and stagger with their last bell-bottomed steps to the woman they love. They are never late for a date, but they also show up right on time to their funerals.\u003c/p>\n\u003cp>Pam, the solution is Amsterdam. We’ll have to start dating in an area where there are no evil pimps and ruthless druglords. We’ll have to stay there at least until the third act. Even then I know I wouldn’t be completely safe, but you could rescue me from any trouble we find.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I want to be your epilogue, your man with the credits scrolling and the theme music playing, the man who gets the next to last line as you always get the last. I’ll be yours forever, just promise me one thing: no sequels. I wouldn’t make it through the first twenty five pages. \u003c/p>\n\u003cp>\u003cb>Notes from the First Quarter:\u003c/b>\u003cbr>I realized this past week that I had passed the quarter-way mark on April 16th after watching \u003cb>The Twilight Samurai\u003c/b>. I wanted to hit the mark at the end of March. I’m a little over two weeks late. It’s really difficult to watch more than 11 movies per week, so I don’t think I’ll be able to make up that lost time anytime soon.\u003c/p>\n\u003cp>I haven’t picked up a PlayStation game since December. My days of putting on a game like \u003cb>Katamari Damacy\u003c/b> or \u003cb>The Warriors\u003c/b> and obsessively playing into the wee hours are over until this project is done. I really don’t know where I’d get the chunk of time to really geek out on a nice turn-based strategy game.\u003c/p>\n\u003cp>I’ve also been reading about a quarter as much as I used to. I just finished Augusten Burroughs’ \u003cb>Magical Thinking\u003c/b>, and before that, a reread of Charles Bukowski’s \u003cb>Factotum\u003c/b>. The first novel I read this year was Michelle Tea’s \u003cb>Rose of No Man’s Land\u003c/b>. There was a book of Ring Lardner stories as well, the dark collection \u003cb>Champion\u003c/b>. Normally by this time of the year, I would have read about a dozen books. Two of those books I read while on a week long trip to Salt Lake City. \u003c/p>\n\u003cp>My life has become a blur of work, the gym, recovery meetings, and movies. I plan my small social calendar around what movies I have to watch on a particular night. I come home from work for lunch and watch half an hour of a movie to squeeze in whatever watching I can. I used to go to movies in the theater, but I really don’t want to right now.\u003c/p>\n\u003cp>\u003cb>Pick of the Week:\u003c/b>\u003c/p>\n\u003cp>This week, I struggled between \u003cb>The Ice Harvest\u003c/b> and \u003cb>California Split\u003c/b>. I decided on California Split because I feel it’s overlooked.\u003c/p>\n\u003cp>Plenty of people know the name Robert Altman, and a few of his films. Often I hear about\u003cb> MASH\u003c/b>, \u003cb>McCabe & Mrs. Miller\u003c/b>, and \u003cb>Short Cuts\u003c/b>. But \u003cb>California Split\u003c/b>, along with \u003cb>Nashville\u003c/b> and \u003cb>The Long Goodbye\u003c/b> are just three more of his films that are really worth a look. \u003c/p>\n\u003cp>Altman is known for his use of dialogue. Often, characters will talk over one another, or lines will overlap. It’s been done since then, but the sound it had in the early ‘70s was his signature. \u003c/p>\n\u003cp>Altman also uses soundtracks to perfection. His musical choices and where they appear in the films are right on the money. \u003c/p>\n\u003cp>This Robert Altman story follows a gaming binge of two degenerate gamblers. There’s a lot of gambling movies out there, and even some of the best ones follow familiar beats. California Split stands on its own.\u003c/p>\n\u003cp>From poker, to the racetrack, to craps, the pair of gamblers will bet on anything, risking more than each can afford, ducking work and any other responsibilities as they look for the big score, and more importantly, action. They want to catch a special winning feeling.\u003c/p>\n\u003cp>The dialogue is alive, perky, and fun to hear. The acting and direction is perfect. The sets and the extras are dead on.\u003c/p>\n\u003cp>At its heart, it’s a great story. Check it out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Quote of the Week:\u003c/b>\u003cbr>“That’s my sister, and she’s a whole lot of woman!” Antonio “Huggy Bear” Fargas, as Link Brown in \u003cb>Foxy Brown\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 11 films this week, which got me minimally ahead. I need to average 10.08 for the rest of the year. This week: another 11 on target.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I want to be your epilogue, your man with the credits scrolling and the theme music playing, the man who gets the next to last line as you always get the last. I’ll be yours forever, just promise me one thing: no sequels. I wouldn’t make it through the first twenty five pages. \u003c/p>\n\u003cp>\u003cb>Notes from the First Quarter:\u003c/b>\u003cbr>I realized this past week that I had passed the quarter-way mark on April 16th after watching \u003cb>The Twilight Samurai\u003c/b>. I wanted to hit the mark at the end of March. I’m a little over two weeks late. It’s really difficult to watch more than 11 movies per week, so I don’t think I’ll be able to make up that lost time anytime soon.\u003c/p>\n\u003cp>I haven’t picked up a PlayStation game since December. My days of putting on a game like \u003cb>Katamari Damacy\u003c/b> or \u003cb>The Warriors\u003c/b> and obsessively playing into the wee hours are over until this project is done. I really don’t know where I’d get the chunk of time to really geek out on a nice turn-based strategy game.\u003c/p>\n\u003cp>I’ve also been reading about a quarter as much as I used to. I just finished Augusten Burroughs’ \u003cb>Magical Thinking\u003c/b>, and before that, a reread of Charles Bukowski’s \u003cb>Factotum\u003c/b>. The first novel I read this year was Michelle Tea’s \u003cb>Rose of No Man’s Land\u003c/b>. There was a book of Ring Lardner stories as well, the dark collection \u003cb>Champion\u003c/b>. Normally by this time of the year, I would have read about a dozen books. Two of those books I read while on a week long trip to Salt Lake City. \u003c/p>\n\u003cp>My life has become a blur of work, the gym, recovery meetings, and movies. I plan my small social calendar around what movies I have to watch on a particular night. I come home from work for lunch and watch half an hour of a movie to squeeze in whatever watching I can. I used to go to movies in the theater, but I really don’t want to right now.\u003c/p>\n\u003cp>\u003cb>Pick of the Week:\u003c/b>\u003c/p>\n\u003cp>This week, I struggled between \u003cb>The Ice Harvest\u003c/b> and \u003cb>California Split\u003c/b>. I decided on California Split because I feel it’s overlooked.\u003c/p>\n\u003cp>Plenty of people know the name Robert Altman, and a few of his films. Often I hear about\u003cb> MASH\u003c/b>, \u003cb>McCabe & Mrs. Miller\u003c/b>, and \u003cb>Short Cuts\u003c/b>. But \u003cb>California Split\u003c/b>, along with \u003cb>Nashville\u003c/b> and \u003cb>The Long Goodbye\u003c/b> are just three more of his films that are really worth a look. \u003c/p>\n\u003cp>Altman is known for his use of dialogue. Often, characters will talk over one another, or lines will overlap. It’s been done since then, but the sound it had in the early ‘70s was his signature. \u003c/p>\n\u003cp>Altman also uses soundtracks to perfection. His musical choices and where they appear in the films are right on the money. \u003c/p>\n\u003cp>This Robert Altman story follows a gaming binge of two degenerate gamblers. There’s a lot of gambling movies out there, and even some of the best ones follow familiar beats. California Split stands on its own.\u003c/p>\n\u003cp>From poker, to the racetrack, to craps, the pair of gamblers will bet on anything, risking more than each can afford, ducking work and any other responsibilities as they look for the big score, and more importantly, action. They want to catch a special winning feeling.\u003c/p>\n\u003cp>The dialogue is alive, perky, and fun to hear. The acting and direction is perfect. The sets and the extras are dead on.\u003c/p>\n\u003cp>At its heart, it’s a great story. Check it out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Quote of the Week:\u003c/b>\u003cbr>“That’s my sister, and she’s a whole lot of woman!” Antonio “Huggy Bear” Fargas, as Link Brown in \u003cb>Foxy Brown\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 11 films this week, which got me minimally ahead. I need to average 10.08 for the rest of the year. This week: another 11 on target.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "49th San Francisco International Film Festival",
"headTitle": "49th San Francisco International Film Festival | KQED",
"content": "\u003cp>Press screenings started a few weeks ago for the 49th San Francisco International Film Festival, which starts tonight, April 20, 2006. What follows are a few picks from the upcoming fest.\u003c/p>\n\u003cp>\u003cb>Addictive TV – Live in San Francisco\u003c/b>\u003cbr>\nCo-presented by Microcinema, the British duo Graham Daniels and Tolly will be doing live video mash-ups and audiovisual remixes of films using their DVJ-X1 DVD turntables. Watch an \u003ca href=\"http:www.djmag.com/newsfeat303.php\" target=\"offsite\" rel=\"noopener\">online demonstration\u003c/a> of their talents as they remix \u003cb>Take the Lead\u003c/b> with Antonio Banderas.\u003cbr>\nMonday, May 1st at the Kabuki, 9:45 p.m.\u003cbr>\nWednesday, May 3rd at Mighty, 119 Utah St., San Francisco, 9:00 p.m.\u003c/p>\n\u003cp>\u003cb>Perhaps Love\u003c/b>\u003cbr>\n\u003cb>Perhaps Love\u003c/b> opens the film festival on April 20th at the Castro Theatre. The film is mainly shown in flashbacks and the film-within-a-film musical numbers are right up there with the spectacle of \u003cb>Moulin Rouge\u003c/b>. While elaborate, the film’s pacing tends to drag and some of the flashbacks get confusing. It’s not one of the better films in the festival’s otherwise great schedule, but it’ll be a fun night with the energy of the audience and the after party might make up for the film’s inadequacies. Director Peter Ho-Sun Chan will be available for questions after the screening.\u003cbr>\nThursday, April 20th at the Castro Theatre, 7:00 p.m.\u003c/p>\n\u003cp>\u003cb>Brothers of the Head\u003c/b>\u003cbr>\n\u003cb>Brothers of the Head\u003c/b> is by far my favorite film screening at this year’s festival. Directed by Keith Fulton and Louis Pepe (\u003cb>Lost in La Mancha\u003c/b>), \u003cb>Brothers of the Head\u003c/b> is a mockumentary about conjoined twins who become rock stars. It’s truly original, will make you squirm and laugh at the same time and has a few tender moments. There will be comparisons to \u003cb>Spinal Tap\u003c/b>, which are totally warranted. In fact, it’s better than \u003cb>Spinal Tap\u003c/b> and the band created for the film NEEDS to go on tour.\u003cbr>\nSaturday, April 29th at the Kabuki, 9:15 p.m.\u003cbr>\nTuesday, May 2nd at the Kabuki, 6:30 p.m.\u003c/p>\n\u003cp>\u003cb>Factotum\u003c/b>\u003cbr>\nNorwegian director Bent Hamer (\u003cb>Kitchen Stories\u003c/b>) succeeds brilliantly at an adaptation of Charles Bukowski’s writing. Matt Dillon plays Henry Chinaski with more subtlety and humanity than Mickey Rourke’s portrayal in \u003cb>Barfly\u003c/b>. The first time I watched the film, I walked away with mixed feelings because I thought Matt Dillon was too good looking to play Chinaski (Bukowski’s alter-ego in his writings). After a second viewing, I got passed Dillon’s looks, just watched and it was magic. If you haven’t seen video interviews of Bukowski, watch some after seeing \u003cb>Factotum\u003c/b> and you’ll be amazed at the transformation in Dillon.\u003cbr>\nSaturday, April 22nd at the Kabuki, 9:00 p.m.\u003cbr>\nSunday, April 30th at the Kabuki, 3:00 p.m.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b>\u003cbr>\nTerry Zwigoff (\u003cb>Crumb\u003c/b>, \u003cb>Ghost World\u003c/b>), directs veteran actors John Malkovich and Angelica Huston and a cast of new comers in this laugh out loud comedy. There are lots of similarities to \u003cb>Ghost World\u003c/b>, since Daniel Clowes wrote the film.\u003cbr>\nWednesday, April 26th at the Kabuki, 6:30 p.m.\u003c/p>\n\u003cp>\u003cb>Eden\u003c/b>\u003cbr>\n\u003cb>Eden\u003c/b> is a film from Germany about a man who is a culinary genius. Gregor doesn’t care that he’s fat, so long as he can blend the perfect concoction of tempting sauces, truffles and desserts. He’s a loner and prefers life that way until Eden, a married woman, enters his life and falls under the spell of his cuisine. After eating his food, Eden’s sex life with her husband is spiced up and she can’t get enough of Gregor’s creations. Eden’s husband sees the change in her and assumes she’s seeing another man and all three of their lives spiral downward from there.\u003c/p>\n\u003cp>\u003cb>Eden\u003c/b> is an engaging film. I recommend making dinner reservations after the screening because you’ll have a whole new appreciation for the culinary arts.\u003cbr>\nFriday April 21st at the Kabuki, 7:00 p.m.\u003c/p>\n\u003cp>Monday April 24th at the Kabuki, 10:00 a.m.\u003cbr>\nMonday April 24th at the Kabuki, 5:45 p.m.\u003c/p>\n\u003cp>\u003cb>Half Nelson\u003c/b>\u003cbr>\nDan is an inner-city schoolteacher who loves his job and wants to inspire his 13 and 14 year old students. He enjoys a special rapport with them, treating them with respect while giving them valuable life lessons.\u003c/p>\n\u003cp>But, when school is out and Dan is on his own, he parties hard, has a serious drug habit and is anything but a role model for his students. One of his troubled students catches him smoking from a glass pipe and they become awkward friends after the incident.\u003c/p>\n\u003cp>Ryan Gosling (\u003cb>The Believer\u003c/b>, \u003cb>The United States of Leland\u003c/b>) plays Dan and I smell some awards coming his way for his stellar performance in this film.\u003cbr>\nSunday, April 30th at the Kabuki, 6:15 p.m.\u003cbr>\nTuesday, May 2nd at the Kabuki, 9:00 p.m.\u003c/p>\n\u003cp>\u003cb>Backstage\u003c/b>\u003cbr>\nThe French film \u003cb>Backstage\u003c/b> comes in a close second for my favorite film of the festival so far. A teenager obsesses over a pop star and one day gets a surprise meeting with the star as part of a promotion for a TV show. The teen loses complete control over her emotions and locks herself in her bedroom. The pop star is pissed about the missed promotional opportunity. Later, the teenager hitches a ride to Paris to try to get back into the pop star’s life.\u003c/p>\n\u003cp>This film is sheer perfection when it comes to character development and the actors play very well off of each other. It asks the question, who is more in need of the other, the person being worshipped or the fan?\u003c/p>\n\u003cp>Tuesday, May 2nd at the Kabuki, 7:00 p.m.\u003c/p>\n\u003cp>\u003cb>Petit Lieutenant\u003c/b>\u003cbr>\nDirected by Xavier Beauvois, \u003cb>Le Petit Lieutenant\u003c/b> is a crime drama about a young police officer that moves to Paris from the suburbs so he can really get his hands dirty investigating serious crimes. He’s paired up with an experienced female officer who used to have a drinking problem. Russian immigrants are on a murder spree and drown their victims in the Seine.\u003c/p>\n\u003cp>This is the worst film of the festival I’ve seen so far, comparable to the depth and complexity of an episode of \u003cb>Nash Bridges\u003c/b> without the “witty” banter. Miss it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Other films worth mentioning: \u003cb>Manslaughter\u003c/b> from Denmark, \u003cb>Viva Cuba\u003c/b> from Cuba, \u003cb>I Saw Ben Barka Get Killed\u003c/b> from France and \u003cb>Romance & Cigarettes\u003c/b> directed by John Turturro. \u003cb>Romance & Cigarettes\u003c/b> has been shelved for North American distribution by MGM because of management changes. This will be the only chance you’ll have to see it unless you buy the DVD off of Ebay UK when it comes out there.\u003c/p>\n\n",
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"excerpt": "Press screenings started a few weeks ago for the 49th San Francisco International Film Festival, which starts tonight, April 20, 2006. What follows are a few picks from the upcoming fest.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Press screenings started a few weeks ago for the 49th San Francisco International Film Festival, which starts tonight, April 20, 2006. What follows are a few picks from the upcoming fest.\u003c/p>\n\u003cp>\u003cb>Addictive TV – Live in San Francisco\u003c/b>\u003cbr>\nCo-presented by Microcinema, the British duo Graham Daniels and Tolly will be doing live video mash-ups and audiovisual remixes of films using their DVJ-X1 DVD turntables. Watch an \u003ca href=\"http:www.djmag.com/newsfeat303.php\" target=\"offsite\" rel=\"noopener\">online demonstration\u003c/a> of their talents as they remix \u003cb>Take the Lead\u003c/b> with Antonio Banderas.\u003cbr>\nMonday, May 1st at the Kabuki, 9:45 p.m.\u003cbr>\nWednesday, May 3rd at Mighty, 119 Utah St., San Francisco, 9:00 p.m.\u003c/p>\n\u003cp>\u003cb>Perhaps Love\u003c/b>\u003cbr>\n\u003cb>Perhaps Love\u003c/b> opens the film festival on April 20th at the Castro Theatre. The film is mainly shown in flashbacks and the film-within-a-film musical numbers are right up there with the spectacle of \u003cb>Moulin Rouge\u003c/b>. While elaborate, the film’s pacing tends to drag and some of the flashbacks get confusing. It’s not one of the better films in the festival’s otherwise great schedule, but it’ll be a fun night with the energy of the audience and the after party might make up for the film’s inadequacies. Director Peter Ho-Sun Chan will be available for questions after the screening.\u003cbr>\nThursday, April 20th at the Castro Theatre, 7:00 p.m.\u003c/p>\n\u003cp>\u003cb>Brothers of the Head\u003c/b>\u003cbr>\n\u003cb>Brothers of the Head\u003c/b> is by far my favorite film screening at this year’s festival. Directed by Keith Fulton and Louis Pepe (\u003cb>Lost in La Mancha\u003c/b>), \u003cb>Brothers of the Head\u003c/b> is a mockumentary about conjoined twins who become rock stars. It’s truly original, will make you squirm and laugh at the same time and has a few tender moments. There will be comparisons to \u003cb>Spinal Tap\u003c/b>, which are totally warranted. In fact, it’s better than \u003cb>Spinal Tap\u003c/b> and the band created for the film NEEDS to go on tour.\u003cbr>\nSaturday, April 29th at the Kabuki, 9:15 p.m.\u003cbr>\nTuesday, May 2nd at the Kabuki, 6:30 p.m.\u003c/p>\n\u003cp>\u003cb>Factotum\u003c/b>\u003cbr>\nNorwegian director Bent Hamer (\u003cb>Kitchen Stories\u003c/b>) succeeds brilliantly at an adaptation of Charles Bukowski’s writing. Matt Dillon plays Henry Chinaski with more subtlety and humanity than Mickey Rourke’s portrayal in \u003cb>Barfly\u003c/b>. The first time I watched the film, I walked away with mixed feelings because I thought Matt Dillon was too good looking to play Chinaski (Bukowski’s alter-ego in his writings). After a second viewing, I got passed Dillon’s looks, just watched and it was magic. If you haven’t seen video interviews of Bukowski, watch some after seeing \u003cb>Factotum\u003c/b> and you’ll be amazed at the transformation in Dillon.\u003cbr>\nSaturday, April 22nd at the Kabuki, 9:00 p.m.\u003cbr>\nSunday, April 30th at the Kabuki, 3:00 p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Art School Confidential\u003c/b>\u003cbr>\nTerry Zwigoff (\u003cb>Crumb\u003c/b>, \u003cb>Ghost World\u003c/b>), directs veteran actors John Malkovich and Angelica Huston and a cast of new comers in this laugh out loud comedy. There are lots of similarities to \u003cb>Ghost World\u003c/b>, since Daniel Clowes wrote the film.\u003cbr>\nWednesday, April 26th at the Kabuki, 6:30 p.m.\u003c/p>\n\u003cp>\u003cb>Eden\u003c/b>\u003cbr>\n\u003cb>Eden\u003c/b> is a film from Germany about a man who is a culinary genius. Gregor doesn’t care that he’s fat, so long as he can blend the perfect concoction of tempting sauces, truffles and desserts. He’s a loner and prefers life that way until Eden, a married woman, enters his life and falls under the spell of his cuisine. After eating his food, Eden’s sex life with her husband is spiced up and she can’t get enough of Gregor’s creations. Eden’s husband sees the change in her and assumes she’s seeing another man and all three of their lives spiral downward from there.\u003c/p>\n\u003cp>\u003cb>Eden\u003c/b> is an engaging film. I recommend making dinner reservations after the screening because you’ll have a whole new appreciation for the culinary arts.\u003cbr>\nFriday April 21st at the Kabuki, 7:00 p.m.\u003c/p>\n\u003cp>Monday April 24th at the Kabuki, 10:00 a.m.\u003cbr>\nMonday April 24th at the Kabuki, 5:45 p.m.\u003c/p>\n\u003cp>\u003cb>Half Nelson\u003c/b>\u003cbr>\nDan is an inner-city schoolteacher who loves his job and wants to inspire his 13 and 14 year old students. He enjoys a special rapport with them, treating them with respect while giving them valuable life lessons.\u003c/p>\n\u003cp>But, when school is out and Dan is on his own, he parties hard, has a serious drug habit and is anything but a role model for his students. One of his troubled students catches him smoking from a glass pipe and they become awkward friends after the incident.\u003c/p>\n\u003cp>Ryan Gosling (\u003cb>The Believer\u003c/b>, \u003cb>The United States of Leland\u003c/b>) plays Dan and I smell some awards coming his way for his stellar performance in this film.\u003cbr>\nSunday, April 30th at the Kabuki, 6:15 p.m.\u003cbr>\nTuesday, May 2nd at the Kabuki, 9:00 p.m.\u003c/p>\n\u003cp>\u003cb>Backstage\u003c/b>\u003cbr>\nThe French film \u003cb>Backstage\u003c/b> comes in a close second for my favorite film of the festival so far. A teenager obsesses over a pop star and one day gets a surprise meeting with the star as part of a promotion for a TV show. The teen loses complete control over her emotions and locks herself in her bedroom. The pop star is pissed about the missed promotional opportunity. Later, the teenager hitches a ride to Paris to try to get back into the pop star’s life.\u003c/p>\n\u003cp>This film is sheer perfection when it comes to character development and the actors play very well off of each other. It asks the question, who is more in need of the other, the person being worshipped or the fan?\u003c/p>\n\u003cp>Tuesday, May 2nd at the Kabuki, 7:00 p.m.\u003c/p>\n\u003cp>\u003cb>Petit Lieutenant\u003c/b>\u003cbr>\nDirected by Xavier Beauvois, \u003cb>Le Petit Lieutenant\u003c/b> is a crime drama about a young police officer that moves to Paris from the suburbs so he can really get his hands dirty investigating serious crimes. He’s paired up with an experienced female officer who used to have a drinking problem. Russian immigrants are on a murder spree and drown their victims in the Seine.\u003c/p>\n\u003cp>This is the worst film of the festival I’ve seen so far, comparable to the depth and complexity of an episode of \u003cb>Nash Bridges\u003c/b> without the “witty” banter. Miss it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other films worth mentioning: \u003cb>Manslaughter\u003c/b> from Denmark, \u003cb>Viva Cuba\u003c/b> from Cuba, \u003cb>I Saw Ben Barka Get Killed\u003c/b> from France and \u003cb>Romance & Cigarettes\u003c/b> directed by John Turturro. \u003cb>Romance & Cigarettes\u003c/b> has been shelved for North American distribution by MGM because of management changes. This will be the only chance you’ll have to see it unless you buy the DVD off of Ebay UK when it comes out there.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Pick of the Week: The Swimmer\u003c/b>\u003cbr>In the first ten minutes of most movies, we learn everything we need to know about the main character. Occasionally, there will be a surprise, a “reveal” somewhere in the latter half of the movie, but usually in American cinema, the background is revealed in the opening pan across the character’s house as the alarm goes off, or the kids are being rushed off to school, in a image overload of Photoshopped family portraits and exposition heavy dialogue. We learn that the main character is not only a single mother but an important executive who gets it all done somehow, or that the character is an unkempt bachelor cop who plays by his own rules and still has been burned on love in the past.\u003c/p>\n\u003cp>Rarely a script comes along that plays against convention so radically that it’s a wonder it was made. \u003cb>The Swimmer\u003c/b> is one such movie. While at first appearing to be a light hearted pool “party in the suburbs” type film, the story gets progressively darker as the sky blackens. Burt Lancaster plays the role of an idealist in a state of denial. The mood is upbeat as he decides to swim across every neighbor’s pool in the county on his way home. But as he approaches each neighbor, we learn a piece more of the back story, and the mood deepens.\u003c/p>\n\u003cp>I saw the last half of this film some years ago on TV, but when I re-watched it from the beginning, widescreen, with no commercial breaks, and ten years older, it hit me in the gut. \u003cb>The Swimmer\u003c/b> is like \u003cb>Old Yeller\u003c/b> for adults. If I saw this at 18, I’d probably think Burt Lancaster is an old jerk, but at 36, I was deeply moved.\u003c/p>\n\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>Who doesn’t like a good sniper? In film, anywayÂ…they’re dramatic, tense, suspenseful plot subjects. When all the other theme columns this week look at Easter movies or San Francisco Earthquake anniversary movies, I’m bringing you a list of maniacs with high-powered rifles.\u003c/p>\n\u003cp>\u003cb>The Manchurian Candidate\u003c/b>\u003cbr>I love watching Denzel Washington, but I haven’t brought myself to watch the remake. The original, directed by John Frankenheimer and starring Frank Sinatra, is brilliant. Sinatra plays a veteran whose mind may not be completely his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Targets\u003c/b>\u003cbr>Roger Corman gave Peter Bogdonavich his first big break to make this film. Bogdonovich had already done some AD and second unit work for Corman, prompting the producer to give him four weeks to crank this film out. Watch this one twice, the second time with the commentary track on. It’s one of those films with a great back story.\u003c/p>\n\u003cp>\u003cb>Dirty Harry\u003c/b>\u003cbr>\u003cb>Dirty Harry\u003c/b> is one of my favorite San Francisco films, as well as one of my favorite Clint Eastwood roles. Eastwood’s titular character has been mimicked so many times by now, a few times by Eastwood himself, that it’s lost a little of its power, but still outdoes almost every rogue cop movie that came after it.\u003c/p>\n\u003cp>\u003cb>The Parallax View\u003c/b>\u003cbr>Warren Beatty investigates the strange world of assassin recruitment, and the film asks some heavy questions along the way. Very paranoid, and good to the last shot, pardon the pun.\u003c/p>\n\u003cp>\u003cb>The Deadly Tower\u003c/b>\u003cbr>Sadly, this one is not available on DVD yet. Kurt Russell, after playing mostly goofy kid roles in Disney films, made this movie for television in 1975. It’s the story of real-life sniper Charles Whitman, who shot over 40 people from a bell tower at the University of Texas, Austin campus in 1966.\u003c/p>\n\u003cp>\u003cb>Liberty Stands Still/Phone Booth\u003c/b>\u003cbr>These two films are pretty much the same film. One is on a cell phone and the other is in a phone booth. A sniper has called someone and will shoot him/her unless his wishes are carried out.\u003cb> Phone Booth\u003c/b> was written by Larry Cohen, an underappreciated American writer/director of various genres.\u003c/p>\n\u003cp>\u003cb>Higher Learning\u003c/b>\u003cbr>John Singleton followed up \u003cb>Boyz in the Hood\u003c/b> with this message-heavy stuffed sack of stereotypes, archtypes, and clichés. Michael Rappaport plays a sniper skinhead. Yep. The cast is amazing, but appear to be in some kind of parody. Singleton’s script is horrible. He was 25 by the time of the release, and it does sound like a screenplay written by a college student. Giving him the benefit of the doubt, I do like \u003cb>Boyz in the Hood\u003c/b>, \u003cb>Baby Boy\u003c/b>, and \u003cb>Poetic Justice\u003c/b>. If you haven’t seen one of those, then give Singleton a chance.\u003c/p>\n\u003cp>\u003cb>Sniper\u003c/b>\u003cbr>Tom Berenger is a lonely, misunderstood retired Marine sniper. Why aren’t there any good jobs stateside for a sniper? Really, we’re supposed to feel sympathy the same way we do when an American’s job is outsourced or antiquated. For real unintentional humor, however, check out \u003cb>The Substitute\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Sniper 2\u003c/b>\u003cbr>This is only on the list for technical reasons. Nothing to see here. Move along.\u003c/p>\n\u003cp>\u003cb>Quote of the Week\u003c/b>: “You are my possession and I own you like I own every toilet in this god damn house!”—Philip Baker Hall to Charles Busch, from \u003cb>Die, Mommie, Die!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I knocked down 11 this week – my target. I have 259 days left to watch the remaining 374 DVDs in my queue. That’s a weekly total of 10.1 per week. I need at least 11 again this week to gain ground. I’d really like to get this number to an even 10 per week.\u003c/p>\n\n",
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"content": "\u003cp>Considering the amount of rainfall over the past month, it was amazing that the single day I had off last week was mild and sunny. My partner and I headed for the rolling, grassy hills of the Tennessee Valley, armed only with zip lock bags of dried fruit and a desire to be immersed in the rich green hues of the valley after a spring rain. Stretching out under the puffy clouds that parted the blue sky, we worked up an appetite for Chinese food and, of course, cinema, so we headed into the wilds of San Rafael to hunt for some satisfaction. And satisfaction we got.\u003c/p>\n\u003cp>I had never seen a film at the San Rafael Film Center, so when we discovered the Mexican film \u003cb>Duck Season\u003c/b> was playing, we found a joint nearby for a little Buddha’s Delight and saddled up to the theater just as the credits began to roll.\u003c/p>\n\u003cp>Let’s face it, I have a soft spot for those first pangs of adolescent longing. Quiet moments of upheaval, when you don’t know whether to laugh or cry or behave around the person who occupies your thoughts. Times when you feel so connected to someone, but you simply can’t express it. So it’s no surprise that I fell head over heels for \u003cb>Duck Season\u003c/b>. The film simply and beautifully captures these moments, all in a single Sunday afternoon, in a Mexico City middle-class high-rise.\u003c/p>\n\u003cp>It is a smart move, situating one’s first feature in a single location, during a single day. But rather than a claustrophobic use of this one apartment, Fernando Eimbcke creates a simple story of a quartet of quirky characters, each seeming to operate at cross-purposes. The neighbor girl and her baking odyssey, the pizza delivery guy trying to save up enough money to move out of Mexico City, and the two Coca-Cola swilling, pizza-munching boys who taste their first moment of freedom away from the watchful eye of their parents.\u003c/p>\n\u003cp>Moko, (Diego Cataño) the cute, curly topped pal wanders unsuspectingly into the kitchen, and gets pressed into service as a baker’s assistant by the neighbor girl who is hell bent on baking a cake. But he gets more than he bargained for from the experience and learns to understand his own feelings. Meanwhile, in the living room, the battle of wills between the Pizza Delivery Guy and Flama (Daniel Miranda) is thwarted by a power outage. As the day unravels, the house gets trashed, the dishes pile up, the sun fades, and the cast of characters gets inexplicably and magically drawn into a painting depicting the duck-hunting season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Shot in a luminous black and white, in long takes, \u003cb>Duck Season\u003c/b> has the appearance of simplicity but, at its heart, captures the longing, in all its facets, of a Sunday afternoon. As the day comes to a close, Moko and Flama realize that they may never see each other again. And like all Sunday evenings, you are left with a sad and empty feeling as the dream of the weekend ends and the monotony of everyday life begins anew.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Considering the amount of rainfall over the past month, it was amazing that the single day I had off last week was mild and sunny. My partner and I headed for the rolling, grassy hills of the Tennessee Valley, armed only with zip lock bags of dried fruit and a desire to be immersed in the rich green hues of the valley after a spring rain. Stretching out under the puffy clouds that parted the blue sky, we worked up an appetite for Chinese food and, of course, cinema, so we headed into the wilds of San Rafael to hunt for some satisfaction. And satisfaction we got.\u003c/p>\n\u003cp>I had never seen a film at the San Rafael Film Center, so when we discovered the Mexican film \u003cb>Duck Season\u003c/b> was playing, we found a joint nearby for a little Buddha’s Delight and saddled up to the theater just as the credits began to roll.\u003c/p>\n\u003cp>Let’s face it, I have a soft spot for those first pangs of adolescent longing. Quiet moments of upheaval, when you don’t know whether to laugh or cry or behave around the person who occupies your thoughts. Times when you feel so connected to someone, but you simply can’t express it. So it’s no surprise that I fell head over heels for \u003cb>Duck Season\u003c/b>. The film simply and beautifully captures these moments, all in a single Sunday afternoon, in a Mexico City middle-class high-rise.\u003c/p>\n\u003cp>It is a smart move, situating one’s first feature in a single location, during a single day. But rather than a claustrophobic use of this one apartment, Fernando Eimbcke creates a simple story of a quartet of quirky characters, each seeming to operate at cross-purposes. The neighbor girl and her baking odyssey, the pizza delivery guy trying to save up enough money to move out of Mexico City, and the two Coca-Cola swilling, pizza-munching boys who taste their first moment of freedom away from the watchful eye of their parents.\u003c/p>\n\u003cp>Moko, (Diego Cataño) the cute, curly topped pal wanders unsuspectingly into the kitchen, and gets pressed into service as a baker’s assistant by the neighbor girl who is hell bent on baking a cake. But he gets more than he bargained for from the experience and learns to understand his own feelings. Meanwhile, in the living room, the battle of wills between the Pizza Delivery Guy and Flama (Daniel Miranda) is thwarted by a power outage. As the day unravels, the house gets trashed, the dishes pile up, the sun fades, and the cast of characters gets inexplicably and magically drawn into a painting depicting the duck-hunting season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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