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"content": "\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an intriguing coincidence, the latest works by the iconoclastic American independent auteurs Orson Welles and JP Allen open opposite each other in the Bay Area this weekend. One director has written, directed and (with one exception) acted in seven films, all of which he financed himself. The other is Orson Welles.\u003c/p>\n\u003cp>Welles hardly needs elucidation, other than to say that he started filming \u003cem>The Other Side of the Wind\u003c/em> in 1970 and was never able to finish it before he died in 1985. Film buffs had resigned themselves to the probability that the movie would never exist in a completed state. It does now, thankfully, and opens at the \u003ca href=\"https://www.roxie.com/ai1ec_event/the-other-side-of-the-wind-35mm/?instance_id=30460\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> and debuts on Netflix Nov. 2. However, \u003cem>The Other Side of the Wind \u003c/em>is not the film to start with if you’re just discovering Orson Welles. That would be \u003cem>Citizen Kane\u003c/em>, or one of his other masterpieces.\u003c/p>\n\u003cp>JP Allen, on the other hand, should be far better known—certainly in San Francisco, where he’s shot all but one of his juicily cerebral films. His recurring theme is the sexual and psychological dynamics that heat and power romantic relationships, but he’s equally passionate about reconfiguring narratives and subverting movie formulas and clichés.\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em> (opening at the \u003ca href=\"http://www.coffeeandlanguage.com/the-filmmaker.html\" rel=\"noopener\" target=\"_blank\">Presidio Theater on Nov. 2\u003c/a>), like many of Allen’s films, presents its protagonist and the audience with a mystery. A solitary photographer and sometime video maker (played by Allen) discovers that his apartment’s been broken into and his identity compromised. Starkly alone in the deserted, canyon-like half-block of Stockton south of the Broadway Tunnel, he gets a cellphone call entangling him with a woman half his age (Ashley Rain Turner, giving a raw and brave performance) who’s traced him from Las Vegas.\u003c/p>\n\u003cp>As is invariably the case in Allen’s work, the agent of the man’s torment holds the key to his evolution (and, just maybe, redemption). And, as is also typical in his films, the man writhes and wrestles to retain control of the situation to the point of absurdity (though not tragedy). What happened in Vegas many years ago, between our now-jaded and faded hero and a beguiling woman he met at a trade show, can’t stay in Vegas—or his lacquered memory—anymore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Filmmaker\u003c/em>, which was inspired by rather than adapted from Allen’s 2008 novel of the same name, questions our responsibilities—debts, if you will—to others, and the degree to which we can alter the paths they’re on. Entwined with that altruistic or guilty impulse is the imperative to come to terms with the misunderstandings and desecrations of one’s past. Allen, abetted by Daniel Teixeira-Gomes’ shimmering cinematography, depicts San Francisco as a mixture of Lonely Avenue and Sin City. If you live here, you’re home already.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Paul Dano's 'Wildlife,' an Affecting Study of a Family in Financial Peril",
"headTitle": "In Paul Dano’s ‘Wildlife,’ an Affecting Study of a Family in Financial Peril | KQED",
"content": "\u003cp>America is on fire and the nuclear family is burning in Paul Dano’s melancholic film, \u003cem>Wildlife\u003c/em>.\u003c/p>\n\u003cp>Based on the novel of the same name by Richard Ford, the film follows the end of a marriage through the eyes of the couple’s teenage son, Joe Brinson (Ed Oxenbould). The family moves from place to place because father Jerry (Jake Gyllenhaal) can’t hold down a job for long. Despite this, mother Jeanette (Carey Mulligan) remains supportive of her husband. But when he takes a job as a firefighter and moves out of their apartment to join the front lines, she’s left without income and—in 1960—with few options.\u003c/p>\n\u003cp>While husband and wife struggle to stave off poverty, a fire rages in the background, an affecting metaphor for a marriage in peril. But Dano, who was in San Francisco earlier this month, adds that what’s being threatened is the American dream, and it’s combustible. “I think that both of these parents are suddenly faced with what their present lives \u003cem>are\u003c/em> rather than the idea of what they were meant to be,” the director explains. “And they implode.”\u003c/p>\n\u003cfigure id=\"attachment_13843517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wildlife\u003c/em> quickly conveys the kind of madness that can infect a family without a way to earn money. In a shot that establishes Jerry’s position in society, the camera, low to the ground, focuses on a hand shining a golf shoe. Dano pulls back and widens the frame to reveal Jerry on his knees. When he loses his job at the golf course for being overly familiar with the patrons, we understand his sense of powerlessness and frustration. It’s not enough for his employer that he performs part of his job on his knees, his spirit has to be cowed too. He’s a servant, and not their equal.\u003c/p>\n\u003cp>With Jerry off fighting fires, Jeanette’s employment options are just similarly limited. And it is during this transition from marital strife to job search as, essentially, a single mom, that \u003cem>Wildlife\u003c/em> becomes Carey Mulligan’s film. Asking for work and repeatedly rejected, Mulligan smiles all the while, refusing to betray her desperation.\u003c/p>\n\u003cfigure id=\"attachment_13843518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg\" alt=\"Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1180x637.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-960x518.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What most drew the director to the source material was a scene in which Ford writes about Joe watching his mother teach a swim class. “He’s seeing everybody around her, probably thinking, ‘There’s a woman who’s got a nice smile. Or there’s a woman who’s got a good figure, or there’s a woman who looks happy,'” Dano says. “But he knows something is wrong. And that’s where the duality is in us, the presentation versus the layers. That excited me.” As the pressure builds, Jeanette loses the ability to hide that duality from her son.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of Dano and Zoe Kazan’s challenges (his life and writing partner who co-wrote the script with him) was the depiction of Joe as an unsophisticated innocent. When his mother introduces him to, or rather, stops shielding him from adult realities, he stares at her blankly. He’s helpless, often silent, because he doesn’t understand why she’s behaving the way she is.\u003c/p>\n\u003cfigure id=\"attachment_13843519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was also Dano’s response to things that happened in his own life. “For me, when the ground started to shake in my house, I wanted things not to tip. I wanted to keep things together. I was scared and, because things felt unstable, my reaction was stable,” he says. “This was how I was forced to be an adult at a young age. That was my reaction, it’s not going to be everybody’s. And that’s Joe’s. It’s there in the book and it’s in the film and I was really moved by that.”\u003c/p>\n\u003cp>In one beautiful scene, Joe runs at night along a snowy, deserted highway. Dano sums up the moment, if not the film’s allusive message, by saying, “To me this kid has to break from his parents.” He needs to avoid making their mistakes in his own life. After all, Jerry can only express that hard transition of moving away from childhood and toward adulthood to Joe obliquely, saying, “This is a wild life, isn’t it, son?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Wildlife’ is playing in San Francisco at the AMC Kabuki 8 and Landmark’s Embarcadero Center and in Berkeley at Shattuck Cinemas. \u003ca href=\"http://www.ifcfilms.com/films/wildlife\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America is on fire and the nuclear family is burning in Paul Dano’s melancholic film, \u003cem>Wildlife\u003c/em>.\u003c/p>\n\u003cp>Based on the novel of the same name by Richard Ford, the film follows the end of a marriage through the eyes of the couple’s teenage son, Joe Brinson (Ed Oxenbould). The family moves from place to place because father Jerry (Jake Gyllenhaal) can’t hold down a job for long. Despite this, mother Jeanette (Carey Mulligan) remains supportive of her husband. But when he takes a job as a firefighter and moves out of their apartment to join the front lines, she’s left without income and—in 1960—with few options.\u003c/p>\n\u003cp>While husband and wife struggle to stave off poverty, a fire rages in the background, an affecting metaphor for a marriage in peril. But Dano, who was in San Francisco earlier this month, adds that what’s being threatened is the American dream, and it’s combustible. “I think that both of these parents are suddenly faced with what their present lives \u003cem>are\u003c/em> rather than the idea of what they were meant to be,” the director explains. “And they implode.”\u003c/p>\n\u003cfigure id=\"attachment_13843517\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-2-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, Ed Oxenbould as Joe Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wildlife\u003c/em> quickly conveys the kind of madness that can infect a family without a way to earn money. In a shot that establishes Jerry’s position in society, the camera, low to the ground, focuses on a hand shining a golf shoe. Dano pulls back and widens the frame to reveal Jerry on his knees. When he loses his job at the golf course for being overly familiar with the patrons, we understand his sense of powerlessness and frustration. It’s not enough for his employer that he performs part of his job on his knees, his spirit has to be cowed too. He’s a servant, and not their equal.\u003c/p>\n\u003cp>With Jerry off fighting fires, Jeanette’s employment options are just similarly limited. And it is during this transition from marital strife to job search as, essentially, a single mom, that \u003cem>Wildlife\u003c/em> becomes Carey Mulligan’s film. Asking for work and repeatedly rejected, Mulligan smiles all the while, refusing to betray her desperation.\u003c/p>\n\u003cfigure id=\"attachment_13843518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg\" alt=\"Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.'\" width=\"1200\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-1180x637.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-960x518.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-1-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What most drew the director to the source material was a scene in which Ford writes about Joe watching his mother teach a swim class. “He’s seeing everybody around her, probably thinking, ‘There’s a woman who’s got a nice smile. Or there’s a woman who’s got a good figure, or there’s a woman who looks happy,'” Dano says. “But he knows something is wrong. And that’s where the duality is in us, the presentation versus the layers. That excited me.” As the pressure builds, Jeanette loses the ability to hide that duality from her son.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of Dano and Zoe Kazan’s challenges (his life and writing partner who co-wrote the script with him) was the depiction of Joe as an unsophisticated innocent. When his mother introduces him to, or rather, stops shielding him from adult realities, he stares at her blankly. He’s helpless, often silent, because he doesn’t understand why she’s behaving the way she is.\u003c/p>\n\u003cfigure id=\"attachment_13843519\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg\" alt=\"Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Wildlife-Image-3-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Carey Mulligan as Jeanette Brinson, and Jake Gyllenhaal as Jerry Brinson in Paul Dano’s ‘Wildlife.’ \u003ccite>(IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was also Dano’s response to things that happened in his own life. “For me, when the ground started to shake in my house, I wanted things not to tip. I wanted to keep things together. I was scared and, because things felt unstable, my reaction was stable,” he says. “This was how I was forced to be an adult at a young age. That was my reaction, it’s not going to be everybody’s. And that’s Joe’s. It’s there in the book and it’s in the film and I was really moved by that.”\u003c/p>\n\u003cp>In one beautiful scene, Joe runs at night along a snowy, deserted highway. Dano sums up the moment, if not the film’s allusive message, by saying, “To me this kid has to break from his parents.” He needs to avoid making their mistakes in his own life. After all, Jerry can only express that hard transition of moving away from childhood and toward adulthood to Joe obliquely, saying, “This is a wild life, isn’t it, son?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Wildlife’ is playing in San Francisco at the AMC Kabuki 8 and Landmark’s Embarcadero Center and in Berkeley at Shattuck Cinemas. \u003ca href=\"http://www.ifcfilms.com/films/wildlife\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Bay Area Halloween Parties Where You Can Dance Until the Witching Hour",
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"content": "\u003cp>I’m a firm believer that no one is too old to celebrate Halloween. I trick-or-treated until I was at least 14, and even now that I’m a tax-paying adult with a nine-to-five, I still insist on dressing up every year, visiting a haunted house or two and, of course, hitting up the many Halloween-themed dance parties the Bay Area has to offer.\u003c/p>\n\u003cp>For those who want to dress in their spooky best and dance until the witching hour, we’ve rounded up five Bay Area dance parties not to miss.\u003c/p>\n\u003cp>https://youtu.be/Fw5jn1xrfnY\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1962165860747599/\" target=\"_blank\" rel=\"noopener\">Bay Area Vogue Nights: The Afterlife\u003c/a>, Oct. 25\u003c/strong>\u003cbr>\n\u003cstrong>Public Works, San Francisco\u003c/strong>\u003c/p>\n\u003cp>Party crew Swagger Like Us throws some of the most fun LGBTQ dance parties in the Bay Area, and for Halloween, they’re taking it up a notch with a vogue ball that pays homage to deceased queer icons. For those who don’t know, vogue balls are part runway shows, part dance competitions, where contestants bust their best moves and strike their hottest poses while dressed in the fiercest finery. Each category in this year’s ball is open to all gender identities and expressions, and each pays homage to a different departed LGBTQ icon, including Marsha P. Johnson, Keith Haring, Alexander McQueen and Frida Kahlo. Sir JoQ, who starred in KQED Arts’ San Francisco episode of \u003cem>If Cities Could Dance\u003c/em>, is one of the featured dancers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/E5KjboBraOM\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.uptownnightclub.com/\" target=\"_blank\" rel=\"noopener\">The Purple Ones Halloween Crystal Ball\u003c/a>, Oct. 26\u003cbr>\nThe Uptown, Oakland\u003c/strong>\u003c/p>\n\u003cp>Prince visits from the beyond at The Purple Ones’ Halloween Crystal Ball, starring the 11-piece Prince tribute band with a full horn section. Prince’s timeless music is by no means scary, but Halloween can be a time for reflecting on those who’ve passed, especially if you celebrate Día de los Muertos. Plus, he had so many iconic looks—use this event as an excuse to raid your closet for a Prince-inspired costume.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/151943908″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/bollywood-halloween-party-tickets-50840694887?aff=ebdssbdestsearch\" target=\"_blank\" rel=\"noopener\">Bollywood Halloween\u003c/a>, Oct. 26\u003cbr>\nBack Bar, San Jose\u003c/strong>\u003c/p>\n\u003cp>Desi party crew BollyTadka’s Halloween party is all about Bollywood, Top 40 and bhangra, the upbeat Indian dance genre that’s frequently remixed with Western pop, hip-hop and EDM. DJ Aalok spins all night, and costumes are encouraged.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/629804835″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionnairesaloon.com/calendar\" target=\"_blank\" rel=\"noopener\">Demboween 2050\u003c/a>, Oct. 27\u003cbr>\nThe Legionnaire Saloon, Oakland\u003c/strong>\u003c/p>\n\u003cp>Reggaeton is getting pretty popular in the U.S. thanks to Cardi B’s collaborations with Puerto Rican stars Ozuna and Bad Bunny, but stateside fans may be less familiar with the genre’s freakier cousin from the Dominican Republic: dembow. Think faster tempos, twerk-worthy beats and extremely animated Spanish rapping. Oakland’s Legionnaire Saloon hosts a special edition of the Latin dance party Muevelo Muevelo called Demboween 2050, featuring DJs Radical One, Rayreck and Namaste Shawty. It’s likely to get sweaty.\u003c/p>\n\u003cfigure id=\"attachment_11260344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11260344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Spice Girls.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Halloween Covers Show at the Phoenix, Oct. 27\u003cbr>\nPhoenix Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>Much like dressing up as your favorite celebrity, cover bands are a timeworn Halloween tradition. Petaluma’s Phoenix Theater has a show to get your nostalgia juices flowing, featuring homages to Sublime, Third Eye Blind, The Spice Girls, Lana Del Rey, My Chemical Romance, Ace of Bass, The Cranberries, Talking Heads and even the fictional band Sex Bob-omb from the movie \u003cem>Scott Pilgrim\u003c/em>. The lineup should provide plenty of costume inspiration for those still looking.\u003c/p>\n\u003cp>https://youtu.be/QhyV-uZi-IY\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/17th-annual-murder-ballads-bash-the-starry-plough-pub-tickets-50656959329\" target=\"_blank\" rel=\"noopener\">17th Annual Murder Ballads Bash\u003c/a>, Oct. 27\u003cbr>\nThe Starry Plough, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.rollingstone.com/music/music-country-lists/killer-songs-the-10-creepiest-country-murder-ballads-151986/dixie-chicks-goodbye-earl-88152/\" target=\"_blank\" rel=\"noopener\">Crimes of passion\u003c/a> have long been lyrical fodder for folk and country music. So fittingly, every Halloween weekend for the past 17 years, Berkeley folk music venue The Starry Plough has hosted their Murder Ballads Bash. The evening promises music about murder, misery, death and despair and features Loretta Lynch, The Happy Clams, Nellie Bly, Dizzy Twin, Geoff Pond Ensemble (with Connie Champagne), Buried at Sea, Skye Alexander, Luther Monday, 3 Drink Circus, Manson Family and Zack the Sound Guy. There will also be a costume contest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a firm believer that no one is too old to celebrate Halloween. I trick-or-treated until I was at least 14, and even now that I’m a tax-paying adult with a nine-to-five, I still insist on dressing up every year, visiting a haunted house or two and, of course, hitting up the many Halloween-themed dance parties the Bay Area has to offer.\u003c/p>\n\u003cp>For those who want to dress in their spooky best and dance until the witching hour, we’ve rounded up five Bay Area dance parties not to miss.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fw5jn1xrfnY'\n title='//www.youtube.com/embed/Fw5jn1xrfnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1962165860747599/\" target=\"_blank\" rel=\"noopener\">Bay Area Vogue Nights: The Afterlife\u003c/a>, Oct. 25\u003c/strong>\u003cbr>\n\u003cstrong>Public Works, San Francisco\u003c/strong>\u003c/p>\n\u003cp>Party crew Swagger Like Us throws some of the most fun LGBTQ dance parties in the Bay Area, and for Halloween, they’re taking it up a notch with a vogue ball that pays homage to deceased queer icons. For those who don’t know, vogue balls are part runway shows, part dance competitions, where contestants bust their best moves and strike their hottest poses while dressed in the fiercest finery. Each category in this year’s ball is open to all gender identities and expressions, and each pays homage to a different departed LGBTQ icon, including Marsha P. Johnson, Keith Haring, Alexander McQueen and Frida Kahlo. Sir JoQ, who starred in KQED Arts’ San Francisco episode of \u003cem>If Cities Could Dance\u003c/em>, is one of the featured dancers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E5KjboBraOM'\n title='//www.youtube.com/embed/E5KjboBraOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003ca href=\"http://www.uptownnightclub.com/\" target=\"_blank\" rel=\"noopener\">The Purple Ones Halloween Crystal Ball\u003c/a>, Oct. 26\u003cbr>\nThe Uptown, Oakland\u003c/strong>\u003c/p>\n\u003cp>Prince visits from the beyond at The Purple Ones’ Halloween Crystal Ball, starring the 11-piece Prince tribute band with a full horn section. Prince’s timeless music is by no means scary, but Halloween can be a time for reflecting on those who’ve passed, especially if you celebrate Día de los Muertos. Plus, he had so many iconic looks—use this event as an excuse to raid your closet for a Prince-inspired costume.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/151943908″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/151943908″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/bollywood-halloween-party-tickets-50840694887?aff=ebdssbdestsearch\" target=\"_blank\" rel=\"noopener\">Bollywood Halloween\u003c/a>, Oct. 26\u003cbr>\nBack Bar, San Jose\u003c/strong>\u003c/p>\n\u003cp>Desi party crew BollyTadka’s Halloween party is all about Bollywood, Top 40 and bhangra, the upbeat Indian dance genre that’s frequently remixed with Western pop, hip-hop and EDM. DJ Aalok spins all night, and costumes are encouraged.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/629804835″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/629804835″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionnairesaloon.com/calendar\" target=\"_blank\" rel=\"noopener\">Demboween 2050\u003c/a>, Oct. 27\u003cbr>\nThe Legionnaire Saloon, Oakland\u003c/strong>\u003c/p>\n\u003cp>Reggaeton is getting pretty popular in the U.S. thanks to Cardi B’s collaborations with Puerto Rican stars Ozuna and Bad Bunny, but stateside fans may be less familiar with the genre’s freakier cousin from the Dominican Republic: dembow. Think faster tempos, twerk-worthy beats and extremely animated Spanish rapping. Oakland’s Legionnaire Saloon hosts a special edition of the Latin dance party Muevelo Muevelo called Demboween 2050, featuring DJs Radical One, Rayreck and Namaste Shawty. It’s likely to get sweaty.\u003c/p>\n\u003cfigure id=\"attachment_11260344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11260344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spice-Girls-fast-lane-magazine-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Spice Girls.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Halloween Covers Show at the Phoenix, Oct. 27\u003cbr>\nPhoenix Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>Much like dressing up as your favorite celebrity, cover bands are a timeworn Halloween tradition. Petaluma’s Phoenix Theater has a show to get your nostalgia juices flowing, featuring homages to Sublime, Third Eye Blind, The Spice Girls, Lana Del Rey, My Chemical Romance, Ace of Bass, The Cranberries, Talking Heads and even the fictional band Sex Bob-omb from the movie \u003cem>Scott Pilgrim\u003c/em>. The lineup should provide plenty of costume inspiration for those still looking.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QhyV-uZi-IY'\n title='//www.youtube.com/embed/QhyV-uZi-IY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/17th-annual-murder-ballads-bash-the-starry-plough-pub-tickets-50656959329\" target=\"_blank\" rel=\"noopener\">17th Annual Murder Ballads Bash\u003c/a>, Oct. 27\u003cbr>\nThe Starry Plough, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.rollingstone.com/music/music-country-lists/killer-songs-the-10-creepiest-country-murder-ballads-151986/dixie-chicks-goodbye-earl-88152/\" target=\"_blank\" rel=\"noopener\">Crimes of passion\u003c/a> have long been lyrical fodder for folk and country music. So fittingly, every Halloween weekend for the past 17 years, Berkeley folk music venue The Starry Plough has hosted their Murder Ballads Bash. The evening promises music about murder, misery, death and despair and features Loretta Lynch, The Happy Clams, Nellie Bly, Dizzy Twin, Geoff Pond Ensemble (with Connie Champagne), Buried at Sea, Skye Alexander, Luther Monday, 3 Drink Circus, Manson Family and Zack the Sound Guy. There will also be a costume contest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Rodents of Unusual Size,’ Truth is Stranger Than Fiction",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Bay Area filmmakers Quinn Costello, Chris Metzler and Jeff Springer, it’s the suspense of not knowing where a story will end up that makes documentaries so exciting. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they started working on \u003cem>Rodents of Unusual Size\u003c/em> four years ago, they didn’t know if they’d be able to gain the trust of the Louisiana communities fighting to eradicate nutria—an invasive species of monstrous, 20-pound swamp rats wreaking havoc on the wetlands that prevent coastal erosion and help protect residents from hurricanes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People were really used to TV crews coming and caricaturing them, blowing their stories up and kind of making fun of them,” says Costello. But Costello, Metzler and Springer weren’t just another reality television crew. The trio shared a genuine curiosity about the nutria hunters and their families, forming close relationships with their subjects on over a dozen visits to Louisiana during hunting four seasons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13843390 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales in ‘Rodents of Unusual Size’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The filmmakers are no strangers to unusual stories. They routinely tackle projects most would dismiss as impossible, whether that’s \u003ca href=\"https://www.kqed.org/trulyca/57/plagues-and-pleasures-on-the-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">documenting the eccentric community around the stagnant Salton Sea \u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">or the \u003ca href=\"https://www.kqed.org/trulyca/87/everyday-sunshine-the-story-of-fishbone\" target=\"_blank\" rel=\"noopener noreferrer\">unclassifiable, tumultuous band of Fishbone\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for the trio behind \u003cem>Rodents of Unusual Size\u003c/em>, which screens with the filmmakers present at \u003ca href=\"https://rafaelfilm.cafilm.org/rodents-of-unusual-size/?fbclid=IwAR14S-Q8aYGvTwdGVeKFDY8ulrWlzFksIP2YCOjQqJ5NF1pKtoCOIZmmk8o\" target=\"_blank\" rel=\"noopener noreferrer\">the Smith Rafael Center on Thursday, Oct. 25,\u003c/a> and premieres on PBS’ \u003cem>Independent Lens\u003c/em> in January 2019, there’s far more to their film than the drama of the hunt.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Local audiences should also note giant swamp rats are not just a Louisiana problem: \u003ca href=\"https://www.sfgate.com/news/article/nutria-California-swamp-rats-300-dead-hunt-traps-13303143.php\" target=\"_blank\" rel=\"noopener noreferrer\">The California Department of Fish and Wildlife recently caught their 300th nutria at a pond in Merced County\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts sat down with Costello, Metzler and Springer to find out more about making a film with three directors and how documentaries can be portals into other worlds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get your start in documentary filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">Chris and I met at USC as undergraduates, and later we ended up in film school making more narrative-oriented projects together. Toward the end of school, we both found that nonfiction film was really a lot more interesting than fiction. A few years later, we made our first feature-length documentary film, \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember when Jeff and I went and saw [the documentary] \u003cem>Fast, Cheap and Out of Control\u003c/em>. It gave me the permission to say, documentaries can be a lot like narrative films and you could take on interesting, unique subject matter that you wouldn’t normally think a film could be made of.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">One of my first jobs in film was working as an assistant editor for two veteran documentary filmmakers in the Bay Area, Will Parrinello and John Antonelli. That experience was really priceless because it gave me an access point to see how people are making a living as independent documentary filmmakers. This is one path that you can take. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How did the three of you team up to make this film? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Chris serendipitously at a KQED \u003cem>Truly CA\u003c/em> filmmakers party and was always interested in the films he and Jeff were making. There was some overlap in that I was working on a lot of environmental films. I had this idea, originally, to make a short in Louisiana about nutria, and as it turned out, Chris and Jeff also knew about the subject. We started talking about collaborating and how we could pull this off and eventually we decided to buy plane tickets, head down to Louisiana and just start filming.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">A lot of people wonder, how can you have three directors on a film? I think it’s worked out really well because I think we each bring different skill sets to the team. I also shot the film, Quinn edited it, and Chris does a lot of the producing. So I think that we can collaborate very well that way, because we kind of have our craft area that we are also able to focus on. If there’s any disagreement, we take it to vote, and with three of us, it’s easy to make decisions.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you define success?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, there really isn’t any kind of a point in the film [when you can say], “Okay, we’ve succeeded.” Some people ask, “What about your world premiere, or getting your film on TV, or a sold-out crowd to a screening, is that the thing that kind of makes you excited?” Those things are always fun, but they’re kind of expectations going in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s really about meeting all these people and winding up in these unique situations and places, whether it’s the deserts of California, on tour with a punk rock band like Fishbone, or being down in Louisiana chasing giant swamp rats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like opening a door, a portal into all of these different parts of the world that maybe you wouldn’t get to see otherwise and you get to share that experience for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s something you would tell your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">Put one foot in front of the other. Don’t think about the end product; just think about the next right step. Don’t let what you want this film to be at the end get in the way of getting the film started. Start the film and the end will figure itself out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003cem>Rodents of Unusual Size\u003c/em>, we thought we would be finished years ago, and if we had known it was going to take as long as it did—not that we wouldn’t have done it—we would have been a little bewildered by that.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>Making a documentary is a marathon and while it sounds a little bit trite, there are just highs and lows throughout. There’s times when you love the project that you’re working on and other times that you hate it; hopefully you choose a project that you can continue to fall in love with. —\u003ci style=\"font-weight: 400\"> \u003c/i>\u003ci>Introductory\u003c/i>\u003ci style=\"font-weight: 400\"> text by Sarah Hotchkiss, and interview by Kelly Whalen\u003c/i>\u003c/p>\n\n",
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"excerpt": "Documentary filmmakers Quinn Costello, Chris Metzler and Jeff Springer spent four years following giant swamp rats decimating the Louisiana coastline—and the local hunters committed to stopping them.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Bay Area filmmakers Quinn Costello, Chris Metzler and Jeff Springer, it’s the suspense of not knowing where a story will end up that makes documentaries so exciting. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they started working on \u003cem>Rodents of Unusual Size\u003c/em> four years ago, they didn’t know if they’d be able to gain the trust of the Louisiana communities fighting to eradicate nutria—an invasive species of monstrous, 20-pound swamp rats wreaking havoc on the wetlands that prevent coastal erosion and help protect residents from hurricanes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People were really used to TV crews coming and caricaturing them, blowing their stories up and kind of making fun of them,” says Costello. But Costello, Metzler and Springer weren’t just another reality television crew. The trio shared a genuine curiosity about the nutria hunters and their families, forming close relationships with their subjects on over a dozen visits to Louisiana during hunting four seasons.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13843390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13843390 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1200x675.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/THOMAS_GONZALES-520x293.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales in ‘Rodents of Unusual Size’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The filmmakers are no strangers to unusual stories. They routinely tackle projects most would dismiss as impossible, whether that’s \u003ca href=\"https://www.kqed.org/trulyca/57/plagues-and-pleasures-on-the-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">documenting the eccentric community around the stagnant Salton Sea \u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">or the \u003ca href=\"https://www.kqed.org/trulyca/87/everyday-sunshine-the-story-of-fishbone\" target=\"_blank\" rel=\"noopener noreferrer\">unclassifiable, tumultuous band of Fishbone\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for the trio behind \u003cem>Rodents of Unusual Size\u003c/em>, which screens with the filmmakers present at \u003ca href=\"https://rafaelfilm.cafilm.org/rodents-of-unusual-size/?fbclid=IwAR14S-Q8aYGvTwdGVeKFDY8ulrWlzFksIP2YCOjQqJ5NF1pKtoCOIZmmk8o\" target=\"_blank\" rel=\"noopener noreferrer\">the Smith Rafael Center on Thursday, Oct. 25,\u003c/a> and premieres on PBS’ \u003cem>Independent Lens\u003c/em> in January 2019, there’s far more to their film than the drama of the hunt.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Local audiences should also note giant swamp rats are not just a Louisiana problem: \u003ca href=\"https://www.sfgate.com/news/article/nutria-California-swamp-rats-300-dead-hunt-traps-13303143.php\" target=\"_blank\" rel=\"noopener noreferrer\">The California Department of Fish and Wildlife recently caught their 300th nutria at a pond in Merced County\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts sat down with Costello, Metzler and Springer to find out more about making a film with three directors and how documentaries can be portals into other worlds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How did you get your start in documentary filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">Chris and I met at USC as undergraduates, and later we ended up in film school making more narrative-oriented projects together. Toward the end of school, we both found that nonfiction film was really a lot more interesting than fiction. A few years later, we made our first feature-length documentary film, \u003cem>Plagues and Pleasures on the Salton Sea\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">I remember when Jeff and I went and saw [the documentary] \u003cem>Fast, Cheap and Out of Control\u003c/em>. It gave me the permission to say, documentaries can be a lot like narrative films and you could take on interesting, unique subject matter that you wouldn’t normally think a film could be made of.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">One of my first jobs in film was working as an assistant editor for two veteran documentary filmmakers in the Bay Area, Will Parrinello and John Antonelli. That experience was really priceless because it gave me an access point to see how people are making a living as independent documentary filmmakers. This is one path that you can take. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How did the three of you team up to make this film? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">I met Chris serendipitously at a KQED \u003cem>Truly CA\u003c/em> filmmakers party and was always interested in the films he and Jeff were making. There was some overlap in that I was working on a lot of environmental films. I had this idea, originally, to make a short in Louisiana about nutria, and as it turned out, Chris and Jeff also knew about the subject. We started talking about collaborating and how we could pull this off and eventually we decided to buy plane tickets, head down to Louisiana and just start filming.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Jeff: \u003c/b>\u003cspan style=\"font-weight: 400\">A lot of people wonder, how can you have three directors on a film? I think it’s worked out really well because I think we each bring different skill sets to the team. I also shot the film, Quinn edited it, and Chris does a lot of the producing. So I think that we can collaborate very well that way, because we kind of have our craft area that we are also able to focus on. If there’s any disagreement, we take it to vote, and with three of us, it’s easy to make decisions.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13834029\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834029\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS2.jpg\" alt=\"Filmmakers Jeff Springer, Chris Metzler and Quinn Costello\" width=\"720\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS2-520x416.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Jeff Springer, Chris Metzler and Quinn Costello \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you define success?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>\u003cspan style=\"font-weight: 400\">For me, there really isn’t any kind of a point in the film [when you can say], “Okay, we’ve succeeded.” Some people ask, “What about your world premiere, or getting your film on TV, or a sold-out crowd to a screening, is that the thing that kind of makes you excited?” Those things are always fun, but they’re kind of expectations going in. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s really about meeting all these people and winding up in these unique situations and places, whether it’s the deserts of California, on tour with a punk rock band like Fishbone, or being down in Louisiana chasing giant swamp rats. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like opening a door, a portal into all of these different parts of the world that maybe you wouldn’t get to see otherwise and you get to share that experience for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s something you would tell your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Quinn: \u003c/b>\u003cspan style=\"font-weight: 400\">Put one foot in front of the other. Don’t think about the end product; just think about the next right step. Don’t let what you want this film to be at the end get in the way of getting the film started. Start the film and the end will figure itself out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003cem>Rodents of Unusual Size\u003c/em>, we thought we would be finished years ago, and if we had known it was going to take as long as it did—not that we wouldn’t have done it—we would have been a little bewildered by that.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Chris: \u003c/b>Making a documentary is a marathon and while it sounds a little bit trite, there are just highs and lows throughout. There’s times when you love the project that you’re working on and other times that you hate it; hopefully you choose a project that you can continue to fall in love with. —\u003ci style=\"font-weight: 400\"> \u003c/i>\u003ci>Introductory\u003c/i>\u003ci style=\"font-weight: 400\"> text by Sarah Hotchkiss, and interview by Kelly Whalen\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/658251028/659203378\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As Amandla Stenberg prepared for her lead role in the film adaptation of \u003cem>The Hate U Give, \u003c/em>she devoured Angie Thomas’ 2017 \u003ca href=\"https://www.npr.org/books/titles/522191657/the-hate-u-give\" target=\"_blank\" rel=\"noopener\">young adult novel\u003c/a>. “Reading the book became this strange, spiritual thing because it started to feel like I was reading my own diary,” she says.\u003c/p>\n\u003cp>Like protagonist Starr Carter, Stenberg grew up in a black neighborhood, but attended an overwhelmingly white school. “I had a very parallel experience,” she says. Stenberg was 10 when she began attending a school across town; she was one of just four black girls in her grade.\u003c/p>\n\u003cp>“I became really familiar with the experience of being isolated in my ethnicity,” Stenberg says. She found it hard to “show all the way up” or be fully herself.\u003c/p>\n\u003cp>“I wanted to fit into this space in which the culture was really white and privileged and kind of alternative,” she says. “So I learned how to adapt to that environment in order to feel included.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the movie, Starr also learns to code switch to fit in. “That means flipping a switch in my brain” around her prep school classmates, she says. But she’s proud of where she’s from — Starr “loves her blackness,” Stenberg explains.\u003c/p>\n\u003cp>One night, Starr and her childhood friend Khalil are pulled over by a white police officer who shoots Khalil when he mistakes his hairbrush for a weapon.\u003c/p>\n\u003cp>Thomas \u003ca href=\"https://www.npr.org/2017/02/26/517305270/the-hate-u-give-explores-racism-and-police-violence\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> she was inspired to write \u003cem>The Hate U Give\u003c/em> after the fatal shooting of Oscar Grant—a young, African-American man who was killed by a white transit officer in Oakland on New Year’s Day in 2009.\u003c/p>\n\u003cp>Grant was unarmed when he was shot, and Thomas was struck by the media coverage that focused on Grant’s criminal record rather than the circumstances of his death. “More people were talking about what he had done in his past than the fact that he unjustly lost his life,” Thomas said.\u003c/p>\n\u003cp>Starr is the only witness to Khalil’s killing. While she wants the police officer to face justice, she’s afraid to speak out. Without giving too much away, she has good reasons for wanting to hold back.\u003c/p>\n\u003cp>But Starr’s father doesn’t accept her silence—he raised his children to fight to be heard. He’s taught them the Black Panther’s Ten-Point Program—including “an immediate end to police brutality and murder of black people”—and to work for justice “by any means necessary.”\u003c/p>\n\u003cp>“So why you gonna be quiet?” he asks Starr.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/517305270/517305271\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>There were special screenings of the film around the country before its official release. Students at Washington, D.C., area public schools had the opportunity to see the film at the Smithsonian National Museum of American History.\u003c/p>\n\u003cp>Tiana Minor, 16, who attends Fauquier High School in Virginia, says society tries to “overlook” or “sugarcoat” issues of racial injustice. She thinks the film will help people open their eyes to what she knows are “real-life problems.”\u003c/p>\n\u003cp>Minor’s classmate, Devon Lewis, 16, says he understands Starr’s reluctance to speak out. “She wants to talk, but she can’t because she just doesn’t have the voice yet,” he says. Lewis adds that he liked the way the father in the story named his daughter “Starr” for “light.” That’s a detail Stenberg likes, too.\u003c/p>\n\u003cp>“Something that’s so beautiful about black culture is that we give our children power in their names,” Stenberg says. “My name actually means ‘power’ in Zulu and Xhosa. It was something that my mom was very intentional with. I think we recognize that it’s a tough world out there, and so we give our children names that they can use as superpowers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This notion of what you “give your children” is referenced in the title of the book and movie:\u003cem> The Hate U Give\u003c/em>. It comes from Tupac Shakur’s THUG LIFE: The Hate U Give Little Infants F***** Everybody. As Amandla Stenberg says—the love you give is even more powerful.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Hate+U+Give%27+Star+Says+The+Novel+Was+Like+%27Reading+My+Own+Diary%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\u003c/p>\n\u003cp>https://youtu.be/ek1ePFp-nBI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n",
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"excerpt": "Critic Monica Castillo says this Halloween sequel takes as its true subject the lingering effects of the trauma Jamie Lee Curtis' character experienced in the 1978 original. (Also there's stabbing.)",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trauma is not neat and pretty to deal with; it is not easily diagnosed, it does not vanish on its own, and its lingering effects can touch those around us. In the latest sequel to the long and winding \u003cem>Halloween \u003c/em>series, trauma plays an important role in the narrative arc of famed final girl Laurie Strode (Jamie Lee Curtis). You might remember her from the original 1978 John Carpenter film, which saw her screaming, running, discovering her friends brutally murdered, then fending off a serial killer to protect the kids she was babysitting. \u003c/p>\n\u003cp>The 2018 sequel picks up several decades later, and while it largely conforms to the retro thrills of the “serial killer on the loose” subgenre, it makes something interesting out of Laurie’s earlier experience. In this film, trauma and survivor’s guilt are not swept under the rug, as often happens in sequels. Instead, Laurie’s experience shapes her behavior and her relationship with both her loved ones and the wider world.\u003c/p>\n\u003cp>Horror movies have lightly toyed with a character’s trauma for dramatic effect before. In Neil Marshall’s \u003cem>The Descent\u003c/em>, Sarah (Shauna Macdonald) tries to cope with the loss of her family in an accident by reuniting with friends and taking a girl’s trip. Things go terribly wrong on the group’s cave-diving adventure, and the memory of her daughter as well as her survivor’s guilt haunt her as she fights off cannibalistic monsters. Wes Craven’s \u003cem>Scream \u003c/em>features Sidney Prescott (Neve Campbell) struggling to cope with her mother’s murder. When a similar killer starts attacking her classmates, it brings her worst fears back to her doorstep.\u003c/p>\n\u003cp>But in this present-day \u003cem>Halloween\u003c/em>, directed by David Gordon Green, trauma is no mere plot device; it’s the film’s explicit subject. Laurie has become a virtual hermit, closing herself off from a world that saw her more like a freak show than a survivor. She’s quick to shut out journalists looking to make a sensational story out of her experience. In this timeline, which skips all of the other sequels, Laurie arms herself in case serial killer Michael Myers returns. She teaches her daughter how to survive, how to shoot, and when to seek shelter in the family panic room. She’s trying to inoculate her daughter from fully inheriting her trauma, as when young women are taught to walk to their cars with their keys between their fingers. This \u003cem>Halloween \u003c/em>sets out to explore the emotional cost of seeing a monster in every shadow.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ek1ePFp-nBI'\n title='//www.youtube.com/embed/ek1ePFp-nBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Laurie’s insistence that her daughter Karen (Judy Greer) learn to protect herself and check around every corner causes a rift in their relationship: Karen resents her mother for the survivalist training and for exposing her to secondhand paranoia. She settles for a passive husband and refuses to train her own daughter Allyson (Andi Matichak) the way her mother raised her. She naively considers her mother’s trauma to be hers alone and actively tries to separate Laurie from spending time with her granddaughter. In the movie, trying to break the cycle of fear leaves them vulnerable to the man who caused the fear in the first place.\u003c/p>\n\u003cp>We see why Karen has so forcefully pushed Laurie out in one especially tense dinner scene: A visibly shaken Laurie shows up late to meet the family at a restaurant, upsetting the shallow pleasantries. Granddaughter Allyson tries to calm her, while daughter Karen becomes confrontational, angry that her mother has shown up at all. Curtis’ performance here is moving — she’s clearly uncomfortable within seconds of sitting down at the table. She keeps looking past the others nervously, while Karen’s body language telegraphs her frustration at the challenges of caring for someone struggling with mental health issues.\u003c/p>\n\u003cp>Trauma manifests in ways we can’t control, often at times when it isn’t appropriate to cry or scream. Laurie’s instability in these moments is palpable, and helps explain why she took such drastic measures against a (likely supernaturally driven) killer.\u003c/p>\n\u003cp>Laurie’s story could have gone any number of ways. She could have buried her trauma, reliving it only in nightmares. She could have moved to another part of the world. If it’s disappointing to see Laurie Strode turned, here, into a gun-toting survivalist in a standard revenge plot, the actress’ own words may shed some light on that decision.\u003c/p>\n\u003cp>At Austin’s Fantastic Fest screening last month, \u003ca href=\"https://www.syfy.com/syfywire/jamie-lee-curtis-flips-a-fan-the-bird-and-talks-trauma-at-halloweens-fantastic-fest\">Curtis told the crowd\u003c/a>, “Laurie Strode went back to school on November 1st with a bandage on her arm. She left school on the 31st, this dreaming, intellectual, going-off-to-college girl. And she came back on the first of November a freak, where everybody talked about her. Nobody helped her. And that’s what I think was the reasoning behind going back to the original trauma. And I’m really glad they did.”\u003c/p>\n\u003cp>It would have been nice if more women could have had some say in the narrative trajectory Laurie has taken, instead of film’s all-male screenwriting trio of Green, Danny McBride and John Fradley. However, this \u003cem>Halloween\u003c/em> highlights a question that horror films so often ignore: How does a genre that unleashes so much violence on its characters grapple with post-traumatic stress disorder, trauma and grief? Horror filmmakers will always terrorize their characters in the moment, of course — but here’s hoping we’ll start to see more films willing to explore the lingering costs of \u003cem>living \u003c/em>with fear every day. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While this latest \u003cem>Halloween \u003c/em>may not accomplish everything it sets out to do, it amply demonstrates how difficult it can be to move on from the ghosts of traumas past.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>Pamela Chavez was very comfortable in the role of “illustrator and animator.” And as she worked on her first animated film, \u003cem>Caracol Cruzando,\u003c/em> a 16-minute short about a young Costa Rican girl emigrating to the United States, she grew into the role of writer as well.\u003c/p>\n\u003cp>But directing, she remembers, that part was hard. “I hadn’t done anything of this magnitude before,” she says of the four-year-long project. The evolution from illustrator to director, Chavez says, “has been the biggest, with the biggest reward.”\u003c/p>\n\u003cp>\u003cem>Caracol Cruzando\u003c/em> translates memories of her own childhood into a magical story of migration and resilience. As Chavez assembled a team of talented animators, sound designers and story editors, it was important to her to have diverse, often marginalized perspectives represented behind the scenes—not just in the story she wanted to tell.\u003c/p>\n\u003cp>Chavez sat down with KQED Arts to talk about her inspirations, lessons she’s learned through filmmaking and what she hopes to see more of in the future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in film?\u003c/strong>\u003c/p>\n\u003cp>This is my first major film project. I studied at the Rhode Island School of Design and I wrote \u003cem> Caracol Cruzando\u003c/em> while I was in school. Right around when I graduated in 2015, I received the grant [from Latino Public Broadcasting] to make this film.\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>Success is being personally challenged to rise to the occasion to believe in myself to be a leader, to trust that I’m a good person to work with and that I have a lot of creative ideas to add to the world. And I think that’s my personal goal, to believe in the power of my creative voice and to trust and to continue trusting my process.\u003c/p>\n\u003cfigure id=\"attachment_13842431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842431\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png\" alt=\"Still from Caracol Cruzando, courtesy of Pamela Chavez\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1920x1078.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Caracol Cruzando, courtesy of Pamela Chavez\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What it something you wish you could say to your younger yourself?\u003c/strong>\u003c/p>\n\u003cp>As a queer woman of color, it’s difficult to find confidence sometimes in the work that we do. I think telling myself I’m doing the most that I can, putting my whole heart into the process, my creative heart, my intellectual heart, all those parts to me, and not to put pressure on myself to create something that’s totally perfect.\u003c/p>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising other people?\u003c/strong>\u003c/p>\n\u003cp>Marjane Satrapi, the Iranian-born French writer and director of animation. She wrote the animated film \u003cem>Persepolis\u003c/em>. People are always surprised to hear that, because it’s not directly linked to the stories I tell. But I think that finding yourself in other voices is really important in finding your intersection between community struggles. This is really what solidarity and intersectionality is about.\u003c/p>\n\u003cp>\u003cstrong>What does future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>In my ideal world, I would see—and I’m speaking primarily to the animation community—stories and films from indigenous, Asian-American and Latino populations given equal voice in funding, perspective, leadership and teams, in a way that hasn’t been seen before. It’s not just about having diversity to check a box for a studio or a company, but telling stories in legitimate, honest ways, spearheaded and written by communities of color, queer folks and folks who’ve been marginalized. So it is beyond just having representation, but about the stories and who is given creative input. — \u003cem>Interview by Rachel Boyoung Kim\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.pbs.org/filmfestival/2018-festival/caracol-cruzando/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Caracol Cruzando \u003c/em>\u003c/a>is streaming as part of the 2018 PBS Online Film Festival.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>Pamela Chavez was very comfortable in the role of “illustrator and animator.” And as she worked on her first animated film, \u003cem>Caracol Cruzando,\u003c/em> a 16-minute short about a young Costa Rican girl emigrating to the United States, she grew into the role of writer as well.\u003c/p>\n\u003cp>But directing, she remembers, that part was hard. “I hadn’t done anything of this magnitude before,” she says of the four-year-long project. The evolution from illustrator to director, Chavez says, “has been the biggest, with the biggest reward.”\u003c/p>\n\u003cp>\u003cem>Caracol Cruzando\u003c/em> translates memories of her own childhood into a magical story of migration and resilience. As Chavez assembled a team of talented animators, sound designers and story editors, it was important to her to have diverse, often marginalized perspectives represented behind the scenes—not just in the story she wanted to tell.\u003c/p>\n\u003cp>Chavez sat down with KQED Arts to talk about her inspirations, lessons she’s learned through filmmaking and what she hopes to see more of in the future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in film?\u003c/strong>\u003c/p>\n\u003cp>This is my first major film project. I studied at the Rhode Island School of Design and I wrote \u003cem> Caracol Cruzando\u003c/em> while I was in school. Right around when I graduated in 2015, I received the grant [from Latino Public Broadcasting] to make this film.\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>Success is being personally challenged to rise to the occasion to believe in myself to be a leader, to trust that I’m a good person to work with and that I have a lot of creative ideas to add to the world. And I think that’s my personal goal, to believe in the power of my creative voice and to trust and to continue trusting my process.\u003c/p>\n\u003cfigure id=\"attachment_13842431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842431\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png\" alt=\"Still from Caracol Cruzando, courtesy of Pamela Chavez\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1920x1078.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Caracol Cruzando, courtesy of Pamela Chavez\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What it something you wish you could say to your younger yourself?\u003c/strong>\u003c/p>\n\u003cp>As a queer woman of color, it’s difficult to find confidence sometimes in the work that we do. I think telling myself I’m doing the most that I can, putting my whole heart into the process, my creative heart, my intellectual heart, all those parts to me, and not to put pressure on myself to create something that’s totally perfect.\u003c/p>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising other people?\u003c/strong>\u003c/p>\n\u003cp>Marjane Satrapi, the Iranian-born French writer and director of animation. She wrote the animated film \u003cem>Persepolis\u003c/em>. People are always surprised to hear that, because it’s not directly linked to the stories I tell. But I think that finding yourself in other voices is really important in finding your intersection between community struggles. This is really what solidarity and intersectionality is about.\u003c/p>\n\u003cp>\u003cstrong>What does future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>In my ideal world, I would see—and I’m speaking primarily to the animation community—stories and films from indigenous, Asian-American and Latino populations given equal voice in funding, perspective, leadership and teams, in a way that hasn’t been seen before. It’s not just about having diversity to check a box for a studio or a company, but telling stories in legitimate, honest ways, spearheaded and written by communities of color, queer folks and folks who’ve been marginalized. So it is beyond just having representation, but about the stories and who is given creative input. — \u003cem>Interview by Rachel Boyoung Kim\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.pbs.org/filmfestival/2018-festival/caracol-cruzando/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Caracol Cruzando \u003c/em>\u003c/a>is streaming as part of the 2018 PBS Online Film Festival.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Powerful women (a.k.a. threats to powerful men) have long been cast as witches. But these days, the word “witch” sounds like less of an insult and more of an aspirational moniker. Witches’ supernatural and intellectual powers trump physical strength. They’re assertive, unruly, transgressive and sexually free. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Poster_640.jpg\" alt=\"\" width=\"640\" height=\"792\" class=\"alignright size-full wp-image-13842269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-520x644.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Faced with adversity, witches lean in and stir that cauldron even harder. \u003c/p>\n\u003cp>Magically, helpfully, on Oct. 13 the Balboa Theatre offers a day-long dose of witchy empowerment and inspiration with \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">The Sorceress Sabbath Witchcraft Film Festival\u003c/a>. The lineup includes 1960s and 70s cult classics, documentaries, two recent spellbinding films, a talk from an alchemy and occult lore scholar, a burlesque performance and “supernatural face painting.”\u003c/p>\n\u003cp>Included on the day’s schedule is filmmaker Anna Biller’s much-lauded 2016 feature \u003ci>\u003ca href=\"https://www.nytimes.com/2016/11/18/movies/review-the-love-witch.html\" rel=\"noopener\" target=\"_blank\">The Love Witch\u003c/a>\u003c/i>, a lush tribute to 1960s Technicolor thrillers that centers on a modern-day sorceress channeling her rage and frustration into powerful, destructive spells. \u003c/p>\n\u003cp>B.Y.O. broom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>The Sorceress Sabbath Witchcraft Film Festival takes place at San Francisco’s Balboa Theatre Saturday, Oct. 13, with an all-day program beginning at 10am. \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Powerful women (a.k.a. threats to powerful men) have long been cast as witches. But these days, the word “witch” sounds like less of an insult and more of an aspirational moniker. Witches’ supernatural and intellectual powers trump physical strength. They’re assertive, unruly, transgressive and sexually free. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Poster_640.jpg\" alt=\"\" width=\"640\" height=\"792\" class=\"alignright size-full wp-image-13842269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Poster_640-520x644.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Faced with adversity, witches lean in and stir that cauldron even harder. \u003c/p>\n\u003cp>Magically, helpfully, on Oct. 13 the Balboa Theatre offers a day-long dose of witchy empowerment and inspiration with \u003ca href=\"https://www.cinemasf.com/balboa/sorceress-sabbath-film-festival/\" rel=\"noopener\" target=\"_blank\">The Sorceress Sabbath Witchcraft Film Festival\u003c/a>. The lineup includes 1960s and 70s cult classics, documentaries, two recent spellbinding films, a talk from an alchemy and occult lore scholar, a burlesque performance and “supernatural face painting.”\u003c/p>\n\u003cp>Included on the day’s schedule is filmmaker Anna Biller’s much-lauded 2016 feature \u003ci>\u003ca href=\"https://www.nytimes.com/2016/11/18/movies/review-the-love-witch.html\" rel=\"noopener\" target=\"_blank\">The Love Witch\u003c/a>\u003c/i>, a lush tribute to 1960s Technicolor thrillers that centers on a modern-day sorceress channeling her rage and frustration into powerful, destructive spells. \u003c/p>\n\u003cp>B.Y.O. broom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\u003c/p>\n\u003cp>https://youtu.be/4AnpybNQ-hU\u003c/p>\n\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Films are magic. Over two hours or even just three minutes, they have the ability to momentarily transport audiences into different worlds, different lives and different experiences. And it’s the filmmaker who guides viewers on that journey, making decisions behind the scenes based on their own experiences and dreams.\u003c/p>\n\u003cp>[contextly_sidebar id=”WT5lxoEQp7lrBQYpJ7lqFWwMM9sGkRrV”]\u003c/p>\n\u003cp>This fall, KQED Arts helps you dive deeper into the stories behind the stories with filmmakers \u003ca href=\"https://www.kqed.org/arts/13811487/moses-documentary-changes-lead-character-and-filmmakers-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Guijarro and Diya Guha\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Nicks\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Herrera\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13842424/behind-the-lens-pamela-chavez\">Pamela Chavez\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13843368/behind-the-lens-rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Metzler, Quinn Costello and Jeff Springer\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844441/behind-the-lens-nijla-mumin\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844798/loners-rappers-and-bankrobbers-pete-lee-brings-the-bays-scrappiness-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">Pete Lee\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13846310/behind-the-lens-talibah-newman\" target=\"_blank\" rel=\"noopener noreferrer\">Talibah Newman\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/13846936/behind-the-lens-eugene-kim\" target=\"_blank\" rel=\"noopener noreferrer\">Eugene Kim\u003c/a>.\u003c/p>\n\u003cp>Whether they’re making a film about a young black woman coming of age in a strict Muslim household, about a middle-aged woman robbing banks on her lunch hour, or about nutria hunters in the Louisiana wetlands, each of filmmakers in \u003cem>Behind the Lens\u003c/em> is dedicated to doing it their own way: with energy, honesty and sincere curiosity about the world around them.\u003c/p>\n\u003cp>\u003cem>Behind the Lens\u003c/em> is a digital video series about bold California indie filmmakers pushing the boundaries of their craft. Each episode focuses on a documentary, narrative or animated film director, capturing the personal experiences that inform their films, and the risks they take to bring stories to the screen. Step behind the lens and follow the journeys of a new generation of storytellers. \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch exclusively online or find full episodes on social media @KQEDArts.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Films are magic. Over two hours or even just three minutes, they have the ability to momentarily transport audiences into different worlds, different lives and different experiences. And it’s the filmmaker who guides viewers on that journey, making decisions behind the scenes based on their own experiences and dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This fall, KQED Arts helps you dive deeper into the stories behind the stories with filmmakers \u003ca href=\"https://www.kqed.org/arts/13811487/moses-documentary-changes-lead-character-and-filmmakers-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Guijarro and Diya Guha\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Nicks\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Herrera\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13842424/behind-the-lens-pamela-chavez\">Pamela Chavez\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13843368/behind-the-lens-rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Metzler, Quinn Costello and Jeff Springer\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844441/behind-the-lens-nijla-mumin\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844798/loners-rappers-and-bankrobbers-pete-lee-brings-the-bays-scrappiness-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">Pete Lee\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13846310/behind-the-lens-talibah-newman\" target=\"_blank\" rel=\"noopener noreferrer\">Talibah Newman\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/13846936/behind-the-lens-eugene-kim\" target=\"_blank\" rel=\"noopener noreferrer\">Eugene Kim\u003c/a>.\u003c/p>\n\u003cp>Whether they’re making a film about a young black woman coming of age in a strict Muslim household, about a middle-aged woman robbing banks on her lunch hour, or about nutria hunters in the Louisiana wetlands, each of filmmakers in \u003cem>Behind the Lens\u003c/em> is dedicated to doing it their own way: with energy, honesty and sincere curiosity about the world around them.\u003c/p>\n\u003cp>\u003cem>Behind the Lens\u003c/em> is a digital video series about bold California indie filmmakers pushing the boundaries of their craft. Each episode focuses on a documentary, narrative or animated film director, capturing the personal experiences that inform their films, and the risks they take to bring stories to the screen. Step behind the lens and follow the journeys of a new generation of storytellers. \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! SFFILM's Hong Kong Cinema Rocks the Vogue",
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"content": "\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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