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His answer, as he tells it today? “I just want to f-cking talk about \u003ci>Heat\u003c/i> every day.”\u003c/p>\n\u003cp>“And there was a laugh,” Howard remembers, “and he goes: ‘I’d listen to that.’” So \u003ca href=\"https://oneheatminute.com/\">\u003ci>One Heat Minute\u003c/i>\u003c/a>—the only podcast, at the time of writing, to dissect Michael Mann’s 1995 crime saga \u003ci>Heat\u003c/i> minute-by-minute—was born.\u003c/p>\n\u003cfigure id=\"attachment_13839994\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839994 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/download-2.jpeg\" alt=\"\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-150x150.jpeg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One Heat Minute host Blake Howard \u003ccite>(Courtesy Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Heat\u003c/i> is probably best known, among casual viewers, for its \u003ca href=\"https://youtu.be/mZjraQagtTo\" target=\"_blank\" rel=\"noopener\">coffee-shop face-off\u003c/a> between stars Robert de Niro and Al Pacino, who until then had never shared an actual on-screen scene together. Over two decades after its release, it’s most frequently remembered as a classic of the cops-and-robbers genre, with Pacino’s driven detective pursuing de Niro’s equally focused thief across a gorgeously-rendered backdrop of LA loneliness.\u003c/p>\n\u003cp>Howard has been obsessed with \u003ci>Heat\u003c/i> since he was a teen, and now he talks to people on his lo-fi, minimally-edited podcast about \u003ci>Heat\u003c/i> (which he says has had “about 20,000 downloads” so far) most days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every one of these episodes, which range in length from 20 minutes to an hour, examines another minute of this 170-minute movie. In each, Howard is joined by a guest—including that “goading” buddy, the critic Stu Coote; \u003cem>New York Times\u003c/em> film writer Manohla Dargis; and, most recently, an anonymous investigator of organized crime in Australia—to pore over every shot, line and performance within a given 60 seconds. That time limit, by the way, is strict: The first episode deals only with the opening credits. Some minutes have zero dialogue.\u003c/p>\n\u003cp>If you’re not a superfan of \u003cem>Heat\u003c/em>, \u003ci>One Heat Minute\u003c/i> will alienate you in the way only hearing people rave about an obsession you don’t share can (despite Howard’s effusive and enthusiastic presence). There’s nothing so inclusive \u003cem>and\u003c/em> exclusionary as people talking about a shared obsession, depending on which side of the door you’re on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ktSdle1Mwdg\u003c/p>\n\u003cp>But if you \u003cem>are\u003c/em> a superfan? You’ll probably find it fascinating. And here I must declare a personal interest: Though I don’t think anyone could love \u003ci>Heat\u003c/i> more than Blake Howard does, one of the people who might come closest… is me.\u003c/p>\n\u003cp>Thanks to a decadent-for-1990s-Yorkshire VHS setup in my childhood bedroom, and a predilection for overwrought Mann movies about tortured machismo, discovering \u003cem>Heat\u003c/em> in my most impressionable years has resulted in a lifelong connection with this film. Knowing all this, even I had to ask: Why \u003ci>Heat\u003c/i>?\u003c/p>\n\u003cp>“Sometimes you get this perfection, you know,” says Howard. “It’s like, it was \u003ci>made\u003c/i> to be examined. It was \u003ci>made\u003c/i> for me to have a conversation about.” As an exercise, he calls \u003ci>One Heat Minute\u003c/i> “the most endlessly rewarding thing I think I’ve ever done, as far as a creative exploration. But the movie just gets better and better.”\u003c/p>\n\u003cp>\u003cem>One Heat Minute\u003c/em> is by no means the only podcast to dissect a movie in minute chronological detail—\u003ca href=\"http://www.starwarsminute.com/\">\u003cem>Star Wars Minute\u003c/em>\u003c/a> and \u003ca href=\"http://goodfellasminute.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Goodfellas Minute\u003c/em>\u003c/a> started several years ago. Howard compares this kind of hyper-close, repetitive examination to Roger Ebert’s tradition of revisiting and re-reviewing a film after his first published pass. True classics of cinema, says Howard, “deserve more of your time than a casual review.”\u003c/p>\n\u003cfigure id=\"attachment_13839996\" class=\"wp-caption alignnone\" style=\"max-width: 1934px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839996 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg\" alt=\"\" width=\"1934\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg 1934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-520x293.jpg 520w\" sizes=\"(max-width: 1934px) 100vw, 1934px\">\u003cfigcaption class=\"wp-caption-text\">The final moments of Heat — it’s been 23 years, this isn’t a spoiler. \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to his word, Howard’s podcast subjects \u003cem>Heat\u003c/em> to the kind of analysis and vigilance some might think reserved for “arthouse” cinema. This has yielded truly interesting discoveries, from previously-unnoticed visual echoes to connections between characters that would pass by unseen on a casual viewing.\u003c/p>\n\u003cp>In the episode that dissects \u003cem>Heat\u003c/em>’s third minute, Howard and his guest stumble on an undeniable bit of foreshadowing, noticing how the camera lingers on a statue in a hospital’s grounds—stone figures in a pose that almost exactly mirrors the one De Niro and Pacino hold in the movie’s very last frame. This is the stuff film students write papers on—and with \u003ci>One Heat Minute\u003c/i>’s minimal editing, hearing the two critics realize the connection seemingly in real time is genuinely, well, exciting.\u003c/p>\n\u003cp>Can you truly subject something to examination and commentary if you are, by your own admission, utterly in love with it? If adoring a movie with your whole heart makes you far less of an impartial critic, Howard isn’t concerned—\u003cem>One Heat Minute\u003c/em> is where critical review meets unabashed fandom.\u003c/p>\n\u003cp>Even though podcasting isn’t quite the meritocracy some make it out to be—there’s still something of a technical and financial barrier to entry—the field of what’s considered “worthy” of a podcast is wide. Howard didn’t \u003cem>need\u003c/em> to convince an editor of the artistic merits of a synth-heavy action thriller starring Val Kilmer, versus, say, \u003cem>Citizen Kane\u003c/em>. He just began recording his conversations with fellow enthusiasts and releasing them on iTunes. Anyone who wants to chat with their buddies about their favorite movie—or period of history, or serial killer—can do the same. Whether they find their audience, of course, is another story.\u003c/p>\n\u003cfigure id=\"attachment_13840505\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Brenneman and Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to a film podcast can feel like the sonic equivalent of that post-screening digest (or depending on varying opinions, debate) in a bar with your movie buddies. As a medium for criticism, podcasting provides extended run time and the freedom to dwell as long as desired on a particular subject—or in \u003cem>One Heat Minute\u003c/em>’s case, a frame or a glance or a throwaway line.\u003c/p>\n\u003cp>Yet if podcasting, as a medium, didn’t exist, how might a devotee like Howard have scratched this particular itch? His answer: writing, perhaps even in chapter-by-chapter book form, about this movie. “I would’ve been writing about \u003ci>Heat\u003c/i> forever. Honestly.”\u003c/p>\n\u003cp>Writing out this passion might not have enabled Howard to connect so relentlessly with fellow obsessives—and to conduct extended conversations with them. Obsession loves community, something podcasts in particular have so deftly tapped into, convening conversations between invested parties and then drawing the listener in to create a second layer of belonging.\u003c/p>\n\u003cfigure id=\"attachment_13840506\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Heat1.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard calls podcasts a “little nice little campfire to sort of get around, to find your people.” As much as he jokes about being “deeply selfish” in birthing \u003ci>One Heat Minute\u003c/i> as a way to talk about his favorite movie on a near-daily basis, it was that friend’s assertion that he’d actually enjoy \u003ci>hearing\u003c/i> it that turned the joke into an actual endeavor.\u003c/p>\n\u003cp>He never expected to attract a mass audience with his project, but the reaction to the series, now that he’s 75 episodes in, has surprised him. “I couldn’t have imagined, in a really positive way, how many people loved \u003cem>Heat\u003c/em>. And I’m so glad.”\u003c/p>\n\u003cp>In life, an obsession—with a movie, a song, a person—usually fades because another one’s taken its place. Yet as Howard acknowledges, he’ll be moving on not because his decades-long love affair with \u003cem>Heat\u003c/em> is over—but because his 170-episode podcast exercise is.\u003c/p>\n\u003cp>According to the current release schedule, \u003ci>One Heat Minute\u003c/i> will formally come to an end in July 2019—just under one year away. “I have no idea what it’s going to feel like,” says Howard. “To have done it—at 170 minutes, when this thing’s over.” He’s already got another movie in mind (a secret, for now) for his next minute-by-minute podcast.\u003c/p>\n\u003cp>How does Howard feel about becoming a professional obsessive focused on a movie that’s famously about characters who are professional obsessives? “That’s fine with me. I guess that’s what I was looking for,” he laughs. “I quite like being this obsessed. It hasn’t ruined me.”\u003c/p>\n\u003cp>And then he adds: “Yet.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could focus on \u003cem>any\u003c/em> one thing—every day, for the foreseeable future—what would you choose?\u003c/p>\n\u003cp>Over a year ago, Australian movie critic and podcaster Blake Howard found himself doing just this—“goaded,” as he puts it, by a friend over beers, into choosing his next professional project. His answer, as he tells it today? “I just want to f-cking talk about \u003ci>Heat\u003c/i> every day.”\u003c/p>\n\u003cp>“And there was a laugh,” Howard remembers, “and he goes: ‘I’d listen to that.’” So \u003ca href=\"https://oneheatminute.com/\">\u003ci>One Heat Minute\u003c/i>\u003c/a>—the only podcast, at the time of writing, to dissect Michael Mann’s 1995 crime saga \u003ci>Heat\u003c/i> minute-by-minute—was born.\u003c/p>\n\u003cfigure id=\"attachment_13839994\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839994 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/download-2.jpeg\" alt=\"\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-150x150.jpeg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One Heat Minute host Blake Howard \u003ccite>(Courtesy Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Heat\u003c/i> is probably best known, among casual viewers, for its \u003ca href=\"https://youtu.be/mZjraQagtTo\" target=\"_blank\" rel=\"noopener\">coffee-shop face-off\u003c/a> between stars Robert de Niro and Al Pacino, who until then had never shared an actual on-screen scene together. Over two decades after its release, it’s most frequently remembered as a classic of the cops-and-robbers genre, with Pacino’s driven detective pursuing de Niro’s equally focused thief across a gorgeously-rendered backdrop of LA loneliness.\u003c/p>\n\u003cp>Howard has been obsessed with \u003ci>Heat\u003c/i> since he was a teen, and now he talks to people on his lo-fi, minimally-edited podcast about \u003ci>Heat\u003c/i> (which he says has had “about 20,000 downloads” so far) most days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every one of these episodes, which range in length from 20 minutes to an hour, examines another minute of this 170-minute movie. In each, Howard is joined by a guest—including that “goading” buddy, the critic Stu Coote; \u003cem>New York Times\u003c/em> film writer Manohla Dargis; and, most recently, an anonymous investigator of organized crime in Australia—to pore over every shot, line and performance within a given 60 seconds. That time limit, by the way, is strict: The first episode deals only with the opening credits. Some minutes have zero dialogue.\u003c/p>\n\u003cp>If you’re not a superfan of \u003cem>Heat\u003c/em>, \u003ci>One Heat Minute\u003c/i> will alienate you in the way only hearing people rave about an obsession you don’t share can (despite Howard’s effusive and enthusiastic presence). There’s nothing so inclusive \u003cem>and\u003c/em> exclusionary as people talking about a shared obsession, depending on which side of the door you’re on.\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/ktSdle1Mwdg'\n title='//www.youtube.com/embed/ktSdle1Mwdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But if you \u003cem>are\u003c/em> a superfan? You’ll probably find it fascinating. And here I must declare a personal interest: Though I don’t think anyone could love \u003ci>Heat\u003c/i> more than Blake Howard does, one of the people who might come closest… is me.\u003c/p>\n\u003cp>Thanks to a decadent-for-1990s-Yorkshire VHS setup in my childhood bedroom, and a predilection for overwrought Mann movies about tortured machismo, discovering \u003cem>Heat\u003c/em> in my most impressionable years has resulted in a lifelong connection with this film. Knowing all this, even I had to ask: Why \u003ci>Heat\u003c/i>?\u003c/p>\n\u003cp>“Sometimes you get this perfection, you know,” says Howard. “It’s like, it was \u003ci>made\u003c/i> to be examined. It was \u003ci>made\u003c/i> for me to have a conversation about.” As an exercise, he calls \u003ci>One Heat Minute\u003c/i> “the most endlessly rewarding thing I think I’ve ever done, as far as a creative exploration. But the movie just gets better and better.”\u003c/p>\n\u003cp>\u003cem>One Heat Minute\u003c/em> is by no means the only podcast to dissect a movie in minute chronological detail—\u003ca href=\"http://www.starwarsminute.com/\">\u003cem>Star Wars Minute\u003c/em>\u003c/a> and \u003ca href=\"http://goodfellasminute.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Goodfellas Minute\u003c/em>\u003c/a> started several years ago. Howard compares this kind of hyper-close, repetitive examination to Roger Ebert’s tradition of revisiting and re-reviewing a film after his first published pass. True classics of cinema, says Howard, “deserve more of your time than a casual review.”\u003c/p>\n\u003cfigure id=\"attachment_13839996\" class=\"wp-caption alignnone\" style=\"max-width: 1934px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839996 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg\" alt=\"\" width=\"1934\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg 1934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-520x293.jpg 520w\" sizes=\"(max-width: 1934px) 100vw, 1934px\">\u003cfigcaption class=\"wp-caption-text\">The final moments of Heat — it’s been 23 years, this isn’t a spoiler. \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to his word, Howard’s podcast subjects \u003cem>Heat\u003c/em> to the kind of analysis and vigilance some might think reserved for “arthouse” cinema. This has yielded truly interesting discoveries, from previously-unnoticed visual echoes to connections between characters that would pass by unseen on a casual viewing.\u003c/p>\n\u003cp>In the episode that dissects \u003cem>Heat\u003c/em>’s third minute, Howard and his guest stumble on an undeniable bit of foreshadowing, noticing how the camera lingers on a statue in a hospital’s grounds—stone figures in a pose that almost exactly mirrors the one De Niro and Pacino hold in the movie’s very last frame. This is the stuff film students write papers on—and with \u003ci>One Heat Minute\u003c/i>’s minimal editing, hearing the two critics realize the connection seemingly in real time is genuinely, well, exciting.\u003c/p>\n\u003cp>Can you truly subject something to examination and commentary if you are, by your own admission, utterly in love with it? If adoring a movie with your whole heart makes you far less of an impartial critic, Howard isn’t concerned—\u003cem>One Heat Minute\u003c/em> is where critical review meets unabashed fandom.\u003c/p>\n\u003cp>Even though podcasting isn’t quite the meritocracy some make it out to be—there’s still something of a technical and financial barrier to entry—the field of what’s considered “worthy” of a podcast is wide. Howard didn’t \u003cem>need\u003c/em> to convince an editor of the artistic merits of a synth-heavy action thriller starring Val Kilmer, versus, say, \u003cem>Citizen Kane\u003c/em>. He just began recording his conversations with fellow enthusiasts and releasing them on iTunes. Anyone who wants to chat with their buddies about their favorite movie—or period of history, or serial killer—can do the same. Whether they find their audience, of course, is another story.\u003c/p>\n\u003cfigure id=\"attachment_13840505\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Brenneman and Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to a film podcast can feel like the sonic equivalent of that post-screening digest (or depending on varying opinions, debate) in a bar with your movie buddies. As a medium for criticism, podcasting provides extended run time and the freedom to dwell as long as desired on a particular subject—or in \u003cem>One Heat Minute\u003c/em>’s case, a frame or a glance or a throwaway line.\u003c/p>\n\u003cp>Yet if podcasting, as a medium, didn’t exist, how might a devotee like Howard have scratched this particular itch? His answer: writing, perhaps even in chapter-by-chapter book form, about this movie. “I would’ve been writing about \u003ci>Heat\u003c/i> forever. Honestly.”\u003c/p>\n\u003cp>Writing out this passion might not have enabled Howard to connect so relentlessly with fellow obsessives—and to conduct extended conversations with them. Obsession loves community, something podcasts in particular have so deftly tapped into, convening conversations between invested parties and then drawing the listener in to create a second layer of belonging.\u003c/p>\n\u003cfigure id=\"attachment_13840506\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Heat1.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard calls podcasts a “little nice little campfire to sort of get around, to find your people.” As much as he jokes about being “deeply selfish” in birthing \u003ci>One Heat Minute\u003c/i> as a way to talk about his favorite movie on a near-daily basis, it was that friend’s assertion that he’d actually enjoy \u003ci>hearing\u003c/i> it that turned the joke into an actual endeavor.\u003c/p>\n\u003cp>He never expected to attract a mass audience with his project, but the reaction to the series, now that he’s 75 episodes in, has surprised him. “I couldn’t have imagined, in a really positive way, how many people loved \u003cem>Heat\u003c/em>. And I’m so glad.”\u003c/p>\n\u003cp>In life, an obsession—with a movie, a song, a person—usually fades because another one’s taken its place. Yet as Howard acknowledges, he’ll be moving on not because his decades-long love affair with \u003cem>Heat\u003c/em> is over—but because his 170-episode podcast exercise is.\u003c/p>\n\u003cp>According to the current release schedule, \u003ci>One Heat Minute\u003c/i> will formally come to an end in July 2019—just under one year away. “I have no idea what it’s going to feel like,” says Howard. “To have done it—at 170 minutes, when this thing’s over.” He’s already got another movie in mind (a secret, for now) for his next minute-by-minute podcast.\u003c/p>\n\u003cp>How does Howard feel about becoming a professional obsessive focused on a movie that’s famously about characters who are professional obsessives? “That’s fine with me. I guess that’s what I was looking for,” he laughs. “I quite like being this obsessed. It hasn’t ruined me.”\u003c/p>\n\u003cp>And then he adds: “Yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dennis Hopper’s Mad, Risky, Fierce and Beautiful ‘Last Movie’ Rides Again",
"headTitle": "Dennis Hopper’s Mad, Risky, Fierce and Beautiful ‘Last Movie’ Rides Again | KQED",
"content": "\u003cp>The French call them \u003cem>film maudit\u003c/em>—those scabrous, maligned, or otherwise compromised movies that may as well have been cursed. \u003c/p>\n\u003cp>Dennis Hopper’s \u003cem>The Last Movie\u003c/em> (1971) is the rare illustration that seems to have actively, and aggressively, sought out this dubious honor. Leveraging the success of \u003cem>Easy Rider\u003c/em> (1969), which recouped its production costs many times over, Hopper brought a full retinue of Hollywood hands and LA hipsters to Peru to improvise his backstage Western. (Though in the finished film the likes of Kris Kristofferson and Michelle Phillips receive barely more screen-time than scores of village extras.) \u003c/p>\n\u003cp>In a fragmentary production report filed for the \u003cem>Evergreen Review\u003c/em>, L.M. Kit Carson observed: “This has been the riskiest movie I’ve been around: actors lost for three days in the mountains, horses falling on people, a stuntman mutiny, schizophrenic love/hate treatment of the movie company by the military government and the Peru communists, rain stopping the filming almost every day—Hopper \u003cem>uses\u003c/em> this insecurity.” \u003c/p>\n\u003cfigure id=\"attachment_13840376\" 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/LM_PressStill_02_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To what ends has long been hard to say, with \u003cem>The Last Movie\u003c/em> all but buried after its initial release. A long-overdue, and presumably long-in-the-making, restoration by Arbelos Films should cement its status as one of ’70s cinema’s true wild cards, a work of compacted beauty and corrosive angst. Those expecting a mess, something like the \u003cem>Easy Rider\u003c/em> acid trip at feature length, may be surprised by the fierce lucidity with which Hopper deconstructs his own movie. So much so that the notoriety of the film’s production, while credible enough, begins to seem a smokescreen for an altogether more audacious proposition: using a major Hollywood production as a site of critique. \u003c/p>\n\u003cp>While Hopper’s jagged cutting between scenes certainly extends to the audience the insecurity described by Carson, there is nevertheless a fairly legible plot to be gleaned from the wreckage. We open on a shootout reminiscent of \u003cem>The Wild Bunch\u003c/em> (1969), only this version—quickly revealed as a movie-within-the-movie—is helmed by Sam Fuller rather than Peckinpah (Fuller reprises the cigar-chomping persona previously essayed in Jean Luc-Godard’s 1965 \u003cem>Pierrot le Fou\u003c/em>, one of several points of contact with Godard in Hopper’s movie, most in screaming shades of red). \u003c/p>\n\u003cfigure id=\"attachment_13840379\" 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/LM_PressStill_11_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopper plays Kansas, a stuntman introduced spoiling a shot on Fuller’s set. Kansas stays behind after the picture wraps, romancing a local woman and stretching his paycheck. Clutching his lover in a resplendent waterfall scene—László Kovács’ cinematography is never less than gorgeous, even if Hopper’s montage short-circuits its reception—Kansas idly fantasizes about a simple life. That is, until he spots a mountaintop that could serve as a landing strip and switches to scheming about building a luxury hotel. (Apropos Jack Nicholson’s lawyer in \u003cem>Easy Rider\u003c/em>, “It’s real hard to be free when you’re bought and sold in the marketplace.”) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hopper’s cad becomes increasingly abusive as he takes up with several varietals of the ugly American, while the movie itself jettisons continuity to pursue the self-revealing logic of a fever dream, not so much breaking the fourth wall as dynamiting it. \u003c/p>\n\u003cp>That thumbnail sketch only begins to suggest the film’s multileveled critique. For one, its cumulative burlesque of Hollywood’s cultural imperialism invites comparison with the likes of Godard and Santiago Álvarez, and the fact that a Universal production should be mentioned in the same breath as these radicals still boggles the mind. Each scene consumes what came before, with Hopper advancing the decidedly avant-garde agenda of using an essentially illusionistic medium to pierce illusions. \u003c/p>\n\u003cfigure id=\"attachment_13840378\" 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/LM_PressStill_10_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A case could be made for seeing the resulting bonfire of vanities as a kind of performance art. Not only for the way that Hopper flings himself into the role—as ever, his acting doesn’t suggest a method to his madness so much as a madness to the Method—but because of the way the movie elevates risk to an operating principle, the better to exploit the weak spots of Hollywood’s dream machine.\u003c/p>\n\u003cp>The one irreplaceable scene here shows the Peruvian villagers appropriating the tools of production, making their own movie on Fuller’s abandoned set. It’s cold outside—the restoration gives you the actors’ breath—but Kansas allows the anxious town priest to lead him down to the spectacle in the town square, where the villagers use torches for lighting and wooden approximations of filmmaking equipment (shades of Kidlat Tahimik’s 1977 wonder, \u003cem>Perfumed Nightmare\u003c/em>). \u003c/p>\n\u003cfigure id=\"attachment_13840377\" 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/LM_PressStill_09_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kansas gently chides the novice director for having his actors actually duke it out and proceeds to show the actors how to throw a “real” Hollywood punch. Of course the real Hollywood crew has not, in fact, abandoned the set, as Hopper’s reflexive montage is at pains to remind us, and yet this scene is remarkably attuned to the postcolonial analysis driving what was then being called, hopefully, “third cinema.” Not the least of \u003cem>The Last Movie\u003c/em>’s paradoxes is that a work so manifestly taken up with exhaustion should also be so adamant in its implicit demand for a new cinema. \u003c/p>\n\u003cp>More particularly, Hopper’s mad movie judges the redemptive logic of the Western to be beyond redemption (as distinct from many of the so-called revisionist westerns of the same era, which either flip the script on the genre or accentuate its violence). In this, \u003cem>The Last Movie\u003c/em> resonates with the subsequent work of many visual artists and avant-garde filmmakers who would take up Western iconography as a way of grappling with this country’s interlocking mythologies of landscape, masculinity and violence. \u003c/p>\n\u003cp>But then, this wouldn’t be Hopper’s last movie. It would take ten years, but the equally raucous \u003cem>Out of the Blue\u003c/em> (1980) picked up right where Hopper was always leaving off—by the skin of his teeth. \u003c/p>\n\u003cp>https://vimeo.com/278225005\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Last Movie’ plays the Alamo Drafthouse in San Francisco Sept. 7–12. \u003ca href=\"https://drafthouse.com/sf/show/the-last-movie-4k-restoration\" rel=\"noopener\" target=\"_blank\">Details and times here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A long-overdue restoration of Dennis Hopper's backstage Western, a searing critique of the Hollywood dream machine, plays at the Alamo Drafthouse.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The French call them \u003cem>film maudit\u003c/em>—those scabrous, maligned, or otherwise compromised movies that may as well have been cursed. \u003c/p>\n\u003cp>Dennis Hopper’s \u003cem>The Last Movie\u003c/em> (1971) is the rare illustration that seems to have actively, and aggressively, sought out this dubious honor. Leveraging the success of \u003cem>Easy Rider\u003c/em> (1969), which recouped its production costs many times over, Hopper brought a full retinue of Hollywood hands and LA hipsters to Peru to improvise his backstage Western. (Though in the finished film the likes of Kris Kristofferson and Michelle Phillips receive barely more screen-time than scores of village extras.) \u003c/p>\n\u003cp>In a fragmentary production report filed for the \u003cem>Evergreen Review\u003c/em>, L.M. Kit Carson observed: “This has been the riskiest movie I’ve been around: actors lost for three days in the mountains, horses falling on people, a stuntman mutiny, schizophrenic love/hate treatment of the movie company by the military government and the Peru communists, rain stopping the filming almost every day—Hopper \u003cem>uses\u003c/em> this insecurity.” \u003c/p>\n\u003cfigure id=\"attachment_13840376\" 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/LM_PressStill_02_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_02_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To what ends has long been hard to say, with \u003cem>The Last Movie\u003c/em> all but buried after its initial release. A long-overdue, and presumably long-in-the-making, restoration by Arbelos Films should cement its status as one of ’70s cinema’s true wild cards, a work of compacted beauty and corrosive angst. Those expecting a mess, something like the \u003cem>Easy Rider\u003c/em> acid trip at feature length, may be surprised by the fierce lucidity with which Hopper deconstructs his own movie. So much so that the notoriety of the film’s production, while credible enough, begins to seem a smokescreen for an altogether more audacious proposition: using a major Hollywood production as a site of critique. \u003c/p>\n\u003cp>While Hopper’s jagged cutting between scenes certainly extends to the audience the insecurity described by Carson, there is nevertheless a fairly legible plot to be gleaned from the wreckage. We open on a shootout reminiscent of \u003cem>The Wild Bunch\u003c/em> (1969), only this version—quickly revealed as a movie-within-the-movie—is helmed by Sam Fuller rather than Peckinpah (Fuller reprises the cigar-chomping persona previously essayed in Jean Luc-Godard’s 1965 \u003cem>Pierrot le Fou\u003c/em>, one of several points of contact with Godard in Hopper’s movie, most in screaming shades of red). \u003c/p>\n\u003cfigure id=\"attachment_13840379\" 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/LM_PressStill_11_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_11_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopper plays Kansas, a stuntman introduced spoiling a shot on Fuller’s set. Kansas stays behind after the picture wraps, romancing a local woman and stretching his paycheck. Clutching his lover in a resplendent waterfall scene—László Kovács’ cinematography is never less than gorgeous, even if Hopper’s montage short-circuits its reception—Kansas idly fantasizes about a simple life. That is, until he spots a mountaintop that could serve as a landing strip and switches to scheming about building a luxury hotel. (Apropos Jack Nicholson’s lawyer in \u003cem>Easy Rider\u003c/em>, “It’s real hard to be free when you’re bought and sold in the marketplace.”) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hopper’s cad becomes increasingly abusive as he takes up with several varietals of the ugly American, while the movie itself jettisons continuity to pursue the self-revealing logic of a fever dream, not so much breaking the fourth wall as dynamiting it. \u003c/p>\n\u003cp>That thumbnail sketch only begins to suggest the film’s multileveled critique. For one, its cumulative burlesque of Hollywood’s cultural imperialism invites comparison with the likes of Godard and Santiago Álvarez, and the fact that a Universal production should be mentioned in the same breath as these radicals still boggles the mind. Each scene consumes what came before, with Hopper advancing the decidedly avant-garde agenda of using an essentially illusionistic medium to pierce illusions. \u003c/p>\n\u003cfigure id=\"attachment_13840378\" 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/LM_PressStill_10_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_10_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A case could be made for seeing the resulting bonfire of vanities as a kind of performance art. Not only for the way that Hopper flings himself into the role—as ever, his acting doesn’t suggest a method to his madness so much as a madness to the Method—but because of the way the movie elevates risk to an operating principle, the better to exploit the weak spots of Hollywood’s dream machine.\u003c/p>\n\u003cp>The one irreplaceable scene here shows the Peruvian villagers appropriating the tools of production, making their own movie on Fuller’s abandoned set. It’s cold outside—the restoration gives you the actors’ breath—but Kansas allows the anxious town priest to lead him down to the spectacle in the town square, where the villagers use torches for lighting and wooden approximations of filmmaking equipment (shades of Kidlat Tahimik’s 1977 wonder, \u003cem>Perfumed Nightmare\u003c/em>). \u003c/p>\n\u003cfigure id=\"attachment_13840377\" 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/LM_PressStill_09_1200.jpg\" alt=\"Still from 'The Last Movie.'\" width=\"1200\" height=\"678\" class=\"size-full wp-image-13840377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LM_PressStill_09_1200-520x294.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Last Movie.’ \u003ccite>(Courtesy of Arbelos Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kansas gently chides the novice director for having his actors actually duke it out and proceeds to show the actors how to throw a “real” Hollywood punch. Of course the real Hollywood crew has not, in fact, abandoned the set, as Hopper’s reflexive montage is at pains to remind us, and yet this scene is remarkably attuned to the postcolonial analysis driving what was then being called, hopefully, “third cinema.” Not the least of \u003cem>The Last Movie\u003c/em>’s paradoxes is that a work so manifestly taken up with exhaustion should also be so adamant in its implicit demand for a new cinema. \u003c/p>\n\u003cp>More particularly, Hopper’s mad movie judges the redemptive logic of the Western to be beyond redemption (as distinct from many of the so-called revisionist westerns of the same era, which either flip the script on the genre or accentuate its violence). In this, \u003cem>The Last Movie\u003c/em> resonates with the subsequent work of many visual artists and avant-garde filmmakers who would take up Western iconography as a way of grappling with this country’s interlocking mythologies of landscape, masculinity and violence. \u003c/p>\n\u003cp>But then, this wouldn’t be Hopper’s last movie. It would take ten years, but the equally raucous \u003cem>Out of the Blue\u003c/em> (1980) picked up right where Hopper was always leaving off—by the skin of his teeth. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Last Movie’ plays the Alamo Drafthouse in San Francisco Sept. 7–12. \u003ca href=\"https://drafthouse.com/sf/show/the-last-movie-4k-restoration\" rel=\"noopener\" target=\"_blank\">Details and times here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! ‘Rodents of Unusual Size’ Chew the Scenery at Alamo Drafthouse",
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"content": "\u003cp>When intrepid Bay Area filmmakers Chris Metzler, Jeff Springer and Quinn Costello headed down N’awlins way some years ago to embark on a new documentary, nobody hereabouts had ever heard of an animal called the nutria. Heck, as recently as the beginning of their \u003cem>Rodents of Unusual Size\u003c/em> festival tour 10 months ago, the destructive mammal was unknown to the average Californian.\u003c/p>\n\u003cp>Today, however, on the eve of its Bay Area theatrical premiere at the \u003ca href=\"https://drafthouse.com/sf/show/rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener\">New Mission Alamo Drafthouse\u003c/a>, the film has a ripped-from-the-headlines aspect. That’s good news for filmmakers opening a movie, but terrible news for the environment. Because the rapidly reproducing nutria, whose ravenous appetite for plants has accelerated the erosion of Louisiana’s wetlands, has \u003ca href=\"https://www.sfchronicle.com/science/article/Eradication-of-invasive-rodent-off-to-a-slow-12908748.php\" target=\"_blank\" rel=\"noopener\">migrated to our state\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13834036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP.jpg\" alt=\"Thomas Gonzales with the filmmakers behind 'Rodents of Unusual Size'\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales with the filmmakers behind ‘Rodents of Unusual Size.15’ \u003ccite>(Courtesy of Tilapia Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may recall \u003ca href=\"https://www.youtube.com/watch?v=8TjGAWxL23c\" target=\"_blank\" rel=\"noopener\">\u003cem>Plagues & Pleasures on the Salton Sea\u003c/em>\u003c/a>—if you saw it, you remember it—the altogether wonderful 2004 documentary that related a saga of SoCal environmental devastation through a panoply of oddball residents. That was Springer and Metzler’s handiwork, and \u003cem>Rodents of Unusual Size\u003c/em> provides more delicious evidence of their eye for the colorful character, and their ability to convey complex social, political, historical and ecological stories with humor and heart.\u003c/p>\n\u003cp>Did I say delicious? \u003cem>Rodents of Unusual Size\u003c/em> introduces us to some Louisiana chefs who devised nutria dishes as part of a statewide campaign to conjure pleasure from a plague. Costello, Metzler and Springer just may bring some samples when they appear Friday night, Aug. 31, for the opening night of the Alamo Drafthouse run. But you needn’t be a carnivore to enjoy their cinematic concoction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When intrepid Bay Area filmmakers Chris Metzler, Jeff Springer and Quinn Costello headed down N’awlins way some years ago to embark on a new documentary, nobody hereabouts had ever heard of an animal called the nutria. Heck, as recently as the beginning of their \u003cem>Rodents of Unusual Size\u003c/em> festival tour 10 months ago, the destructive mammal was unknown to the average Californian.\u003c/p>\n\u003cp>Today, however, on the eve of its Bay Area theatrical premiere at the \u003ca href=\"https://drafthouse.com/sf/show/rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener\">New Mission Alamo Drafthouse\u003c/a>, the film has a ripped-from-the-headlines aspect. That’s good news for filmmakers opening a movie, but terrible news for the environment. Because the rapidly reproducing nutria, whose ravenous appetite for plants has accelerated the erosion of Louisiana’s wetlands, has \u003ca href=\"https://www.sfchronicle.com/science/article/Eradication-of-invasive-rodent-off-to-a-slow-12908748.php\" target=\"_blank\" rel=\"noopener\">migrated to our state\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13834036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP.jpg\" alt=\"Thomas Gonzales with the filmmakers behind 'Rodents of Unusual Size'\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS9_RODENTSOFUNU_1-5_CROP-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales with the filmmakers behind ‘Rodents of Unusual Size.15’ \u003ccite>(Courtesy of Tilapia Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You may recall \u003ca href=\"https://www.youtube.com/watch?v=8TjGAWxL23c\" target=\"_blank\" rel=\"noopener\">\u003cem>Plagues & Pleasures on the Salton Sea\u003c/em>\u003c/a>—if you saw it, you remember it—the altogether wonderful 2004 documentary that related a saga of SoCal environmental devastation through a panoply of oddball residents. That was Springer and Metzler’s handiwork, and \u003cem>Rodents of Unusual Size\u003c/em> provides more delicious evidence of their eye for the colorful character, and their ability to convey complex social, political, historical and ecological stories with humor and heart.\u003c/p>\n\u003cp>Did I say delicious? \u003cem>Rodents of Unusual Size\u003c/em> introduces us to some Louisiana chefs who devised nutria dishes as part of a statewide campaign to conjure pleasure from a plague. Costello, Metzler and Springer just may bring some samples when they appear Friday night, Aug. 31, for the opening night of the Alamo Drafthouse run. But you needn’t be a carnivore to enjoy their cinematic concoction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I’ll be your mirror,” intoned Nico in 1966, singing one of the many tunes given her by a lover. In retrospect, the line neatly captures the model-actress-singer’s ’60s persona: a thin, icily beautiful, dyed-blonde blankness, to be defined by Federico Fellini and Andy Warhol, Lou Reed (who wrote “I’ll Be Your Mirror”) and Bob Dylan. \u003c/p>\n\u003cp>By 1986, when \u003cem>Nico, 1988\u003c/em> opens, the singer has banished all that: she’s become brunette, and cantankerous, and she’s gained some weight. She still sings under the name Nico, but her performances are staged mostly to subsidize her true vocation, heroin user. And she insists that acquaintances use her real name, Christa. \u003c/p>\n\u003cp>https://youtu.be/AWvUNABT8sg\u003c/p>\n\u003cp>Italian writer-director Susanna Nicchiarelli’s scrappy biopic is billed as a somewhat fictionalized “true story.” The script jibes with some accounts of the singer’s final years, and any unreliability is partly the responsibility of its subject, who often lied about her life. \u003c/p>\n\u003cp>The truth of the film, though, is mostly in Trine Dyrholm’s performance. The Danish actress (best known for \u003cem>The Commune\u003c/em>) plays Nico as perplexing and intriguing, ethereal yet earthy. She manages to make the viewer understand why some people wanted to be around the singer, even though she was demanding, exasperating and untrustworthy—in short, a junkie. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dyrholm handles the vocals, persuasively singing several of Nico’s compositions: slo-mo dirges that combined Germanic hymns, French chansons, and the minor-key epics of the Doors (Jim Morrison was another of Nico’s lovers) and the Velvet Underground. Dyrholm also handles a few of the more tuneful numbers Nico recorded, including Jackson Browne’s “These Days” (him, too) and “My Funny Valentine.” \u003c/p>\n\u003cp>The story is book-ended by incidents from the beginning and end of Nico’s life. In the first, a little girl watches beautiful light in the distance, which her mother explains that Berlin is ablaze. In the second, Nico tells her son that she’s going on a bike ride. She won’t return. \u003c/p>\n\u003cp>In between, Nico lives in grim Manchester and undertakes tours arranged by her manager, Richard (John Gordon Sinclair, all grown up 35 years after \u003cem>Gregory’s Girl\u003c/em>). The singer and a ragged band visit Italy and wiggle past the Iron Curtain, notably for an illegal show in Prague. The musicians slink through the dark, and cinematographer Crystel Fournier films them as if she’d time-traveled through a portal to the last days of the Warsaw Pact. \u003c/p>\n\u003cp>The movie’s Nico focuses mostly on self-preservation. She doesn’t give much thought to anyone else, save her teenage addict son, Ari (Sandor Funtek). The child of actor Alain Delon, who never acknowledged him, Ari has ended up in an asylum. Nico wants to get him released and take him on tour, which turns out not to be such a good idea. \u003c/p>\n\u003cp>\u003cem>Nico, 1988\u003c/em> includes a few clips of low-def archival film from the ’60s, glimpses of the young woman’s glamorous persona and famous associates. Aside from those inserts, Nicchiarelli focuses tightly on her subject and the few people around her, the better to emphasize Nico’s isolation and self-absorption. The director jettisons the larger context and several interesting figures important to the singer’s 1986-88 period. \u003c/p>\n\u003cp>The most curious omission is keyboardist James Young, who not only performed with Nico for most of the ’80s but also wrote a very funny memoir about his experiences, published in the U.S. as \u003cem>Nico: The End\u003c/em>. Young’s outlook is very different from Nicchiarelli’s, and the director’s response was to excise him utterly: In her telling, Nico’s band doesn’t even have a keyboard player. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps Young’s book will someday be the source for a different sort of Nico biopic. For now, the story belongs to Nicchiarelli and especially Dyrholm. Later, Nico can be some other canny filmmakers’ mirror. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’ll be your mirror,” intoned Nico in 1966, singing one of the many tunes given her by a lover. In retrospect, the line neatly captures the model-actress-singer’s ’60s persona: a thin, icily beautiful, dyed-blonde blankness, to be defined by Federico Fellini and Andy Warhol, Lou Reed (who wrote “I’ll Be Your Mirror”) and Bob Dylan. \u003c/p>\n\u003cp>By 1986, when \u003cem>Nico, 1988\u003c/em> opens, the singer has banished all that: she’s become brunette, and cantankerous, and she’s gained some weight. She still sings under the name Nico, but her performances are staged mostly to subsidize her true vocation, heroin user. And she insists that acquaintances use her real name, Christa. \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/AWvUNABT8sg'\n title='//www.youtube.com/embed/AWvUNABT8sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Italian writer-director Susanna Nicchiarelli’s scrappy biopic is billed as a somewhat fictionalized “true story.” The script jibes with some accounts of the singer’s final years, and any unreliability is partly the responsibility of its subject, who often lied about her life. \u003c/p>\n\u003cp>The truth of the film, though, is mostly in Trine Dyrholm’s performance. The Danish actress (best known for \u003cem>The Commune\u003c/em>) plays Nico as perplexing and intriguing, ethereal yet earthy. She manages to make the viewer understand why some people wanted to be around the singer, even though she was demanding, exasperating and untrustworthy—in short, a junkie. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dyrholm handles the vocals, persuasively singing several of Nico’s compositions: slo-mo dirges that combined Germanic hymns, French chansons, and the minor-key epics of the Doors (Jim Morrison was another of Nico’s lovers) and the Velvet Underground. Dyrholm also handles a few of the more tuneful numbers Nico recorded, including Jackson Browne’s “These Days” (him, too) and “My Funny Valentine.” \u003c/p>\n\u003cp>The story is book-ended by incidents from the beginning and end of Nico’s life. In the first, a little girl watches beautiful light in the distance, which her mother explains that Berlin is ablaze. In the second, Nico tells her son that she’s going on a bike ride. She won’t return. \u003c/p>\n\u003cp>In between, Nico lives in grim Manchester and undertakes tours arranged by her manager, Richard (John Gordon Sinclair, all grown up 35 years after \u003cem>Gregory’s Girl\u003c/em>). The singer and a ragged band visit Italy and wiggle past the Iron Curtain, notably for an illegal show in Prague. The musicians slink through the dark, and cinematographer Crystel Fournier films them as if she’d time-traveled through a portal to the last days of the Warsaw Pact. \u003c/p>\n\u003cp>The movie’s Nico focuses mostly on self-preservation. She doesn’t give much thought to anyone else, save her teenage addict son, Ari (Sandor Funtek). The child of actor Alain Delon, who never acknowledged him, Ari has ended up in an asylum. Nico wants to get him released and take him on tour, which turns out not to be such a good idea. \u003c/p>\n\u003cp>\u003cem>Nico, 1988\u003c/em> includes a few clips of low-def archival film from the ’60s, glimpses of the young woman’s glamorous persona and famous associates. Aside from those inserts, Nicchiarelli focuses tightly on her subject and the few people around her, the better to emphasize Nico’s isolation and self-absorption. The director jettisons the larger context and several interesting figures important to the singer’s 1986-88 period. \u003c/p>\n\u003cp>The most curious omission is keyboardist James Young, who not only performed with Nico for most of the ’80s but also wrote a very funny memoir about his experiences, published in the U.S. as \u003cem>Nico: The End\u003c/em>. Young’s outlook is very different from Nicchiarelli’s, and the director’s response was to excise him utterly: In her telling, Nico’s band doesn’t even have a keyboard player. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps Young’s book will someday be the source for a different sort of Nico biopic. For now, the story belongs to Nicchiarelli and especially Dyrholm. Later, Nico can be some other canny filmmakers’ mirror. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://sfntf.squarespace.com/filmnight\" rel=\"noopener\" target=\"_blank\">Film Night in the Park\u003c/a>, the long-running Saturday night summer movie series that hopscotches from neighborhood to neighborhood, scales back its formerly ambitious schedule this year. Perhaps recognizing that even hardy San Franciscans don’t relish sitting outside during the typically fog-shrouded months of June and July, the programmers have narrowed their focus to four Saturday nights from Aug. 4 to Sept. 22. The limited run, which features \u003cem>Lady Bird\u003c/em>, \u003cem>Ferris Bueller’s Day Off\u003c/em> and \u003cem>Black Panther\u003c/em>, allows for an unofficial unifying theme: coming of age.\u003c/p>\n\u003cp>Growing up doesn’t necessarily refer to gaining maturity, mind you. In the movies, the journey usually involves recognizing—and embracing—one’s identity, and destiny. Such is the saga of the adult protagonists of \u003cem>The Adventures of Priscilla, Queen of the Desert\u003c/em> (Saturday, Aug. 4 at Dolores Park), Stephan Elliot’s 1994 Australian road movie about a pair of drag queens played by Hugo Weaving (who went on to ride the CGI of \u003cem>The Matrix\u003c/em>) and Guy Pearce (ditto with the noir stylings of \u003cem>L.A. Confidential\u003c/em>) and a transgender woman (the remarkable Terence Stamp, who just celebrated his 80th birthday). Embraced as flamboyantly outrageous on its release, \u003cem>Priscilla\u003c/em> is less shocking but just as entertaining and relevant today.\u003c/p>\n\u003cp>https://youtu.be/QgFDIinCeYI\u003c/p>\n\u003cp>En route from Sydney to a cabaret date in faraway Alice Springs, the trio encounter various forms and flavors of Aussie machismo and prejudice. The heart and soul of the film, though, isn’t the reactions these lifelong outsiders engender in strangers but the ways they acknowledge their sexuality, loneliness and grief. ABBA can only carry you so far, you see. Then again, perhaps we’d all find it easier to be courageous and vulnerable if we were buttressed with Lizzy Gardiner and Tim Chappell’s Academy Award-winning costumes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfntf.squarespace.com/filmnight\" rel=\"noopener\" target=\"_blank\">Film Night in the Park\u003c/a>, the long-running Saturday night summer movie series that hopscotches from neighborhood to neighborhood, scales back its formerly ambitious schedule this year. Perhaps recognizing that even hardy San Franciscans don’t relish sitting outside during the typically fog-shrouded months of June and July, the programmers have narrowed their focus to four Saturday nights from Aug. 4 to Sept. 22. The limited run, which features \u003cem>Lady Bird\u003c/em>, \u003cem>Ferris Bueller’s Day Off\u003c/em> and \u003cem>Black Panther\u003c/em>, allows for an unofficial unifying theme: coming of age.\u003c/p>\n\u003cp>Growing up doesn’t necessarily refer to gaining maturity, mind you. In the movies, the journey usually involves recognizing—and embracing—one’s identity, and destiny. Such is the saga of the adult protagonists of \u003cem>The Adventures of Priscilla, Queen of the Desert\u003c/em> (Saturday, Aug. 4 at Dolores Park), Stephan Elliot’s 1994 Australian road movie about a pair of drag queens played by Hugo Weaving (who went on to ride the CGI of \u003cem>The Matrix\u003c/em>) and Guy Pearce (ditto with the noir stylings of \u003cem>L.A. Confidential\u003c/em>) and a transgender woman (the remarkable Terence Stamp, who just celebrated his 80th birthday). Embraced as flamboyantly outrageous on its release, \u003cem>Priscilla\u003c/em> is less shocking but just as entertaining and relevant today.\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/QgFDIinCeYI'\n title='//www.youtube.com/embed/QgFDIinCeYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>En route from Sydney to a cabaret date in faraway Alice Springs, the trio encounter various forms and flavors of Aussie machismo and prejudice. The heart and soul of the film, though, isn’t the reactions these lifelong outsiders engender in strangers but the ways they acknowledge their sexuality, loneliness and grief. ABBA can only carry you so far, you see. Then again, perhaps we’d all find it easier to be courageous and vulnerable if we were buttressed with Lizzy Gardiner and Tim Chappell’s Academy Award-winning costumes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Berkeley's Fantasy Studios to Close, Building to Be Sold",
"headTitle": "Berkeley’s Fantasy Studios to Close, Building to Be Sold | KQED",
"content": "\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative",
"headTitle": "In ‘Don’t Worry,’ Joaquin Phoenix is the Stormy Center of a Conventional Narrative | KQED",
"content": "\u003cp>In the middle of a desert plain, a sheriff and his deputy stand stock still on horseback. An empty wheelchair sits immobile in front of them. Wearing a cowboy hat, the sheriff turns to his sidekick and says, “Don’t worry, he won’t get far on foot.”\u003c/p>\n\u003cp>That’s the caption on \u003ca href=\"https://dx35vtwkllhj9.cloudfront.net/amazonstudios/dont-worry-he-wont-get-far-on-foot/images/regions/us/illustration.jpg\" target=\"_blank\" rel=\"noopener\">a black-and-white cartoon\u003c/a> drawn by the late \u003ca href=\"https://en.wikipedia.org/wiki/John_Callahan_(cartoonist)\" target=\"_blank\" rel=\"noopener\">John Callahan\u003c/a> (1951-2010) and the name of a new Gus Van Sant film about the cartoonist. The panel offers a typical example of Callahan’s wry sense of humor, but unlike the cartoon, the tone of this biopic is earnest—not sardonic.\u003c/p>\n\u003cp>\u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> fits into the “Poignant Melodrama” section of Van Sant’s oeuvre, along with films like \u003ci>Good Will Hunting\u003c/i>, \u003ci>Milk\u003c/i> and \u003ci>Finding Forrester\u003c/i>. The more experimental filmmaker behind \u003ci>Elephant\u003c/i>, \u003ci>Gerry\u003c/i> and \u003ci>My Own Private Idaho\u003c/i> here relies on Joaquin Phoenix’s performance to provide moments of emotional unpredictability. Animated versions of Callahan’s trenchant cartoons break the story up from time to time, but they don’t appear often enough to truly resonate. Instead, the three-time Academy Award nominee plays the stormy figure at the center of a conventional narrative.\u003c/p>\n\u003cfigure id=\"attachment_13837283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix stars as John Callahan in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phoenix portrays Callahan at various stages in his life—as a paraplegic, as a recovering alcoholic and as a cartoonist for the \u003ci>Willamette Week\u003c/i> in Portland, Oregon. Van Sant, who is also credited with writing the screenplay, doesn’t adhere to a chronological telling of that narrative arc. By layering and overlapping different versions of the same man, the director appears to be extracting, or at least simulating, Callahan’s actual memories. A warm orange or sepia-toned filter signals scenes set in the past, specifically the 1970s, when Callahan gets into the car accident that leaves him paralyzed for the rest of his life.\u003c/p>\n\u003cp>The familiar elements of tragic accident and subsequent recovery in \u003ci>Don’t Worry\u003c/i>’s plot recall films like John Sayle’s 1992 \u003ci>Passion Fish\u003c/i> (with Mary McDonnell) and last year’s \u003ci>Stronger\u003c/i>, which starred Jake Gyllenhaal. Both of those films feature characters who become disabled—McDonnell’s fictional soap opera actress also suffers a car accident and Gyllenhaal plays the real-life Jeff Bauman, who was critically injured at the Boston Marathon bombing. We watch the actors as they adjust to, and also psychologically resist, the way their bodies have been changed. In this respect, Van Sant’s film is no different, except that Callahan’s physical recovery runs parallel to his recovery from alcoholism. And so half of \u003ci>Don’t Worry\u003c/i> is devoted to a therapy group that Callahan finds at an Alcoholics Anonymous meeting.\u003c/p>\n\u003cfigure id=\"attachment_13837284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Black as Dexter and Joaquin Phoenix as John Callahan star in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group meets weekly at the posh house his A.A. sponsor Donnie (Jonah Hill) inherited from his family. Van Sant’s camera circles the room, filming confessions from a cast filled with unexpected cameos. Phoenix, who could never play an everyman, fits right in with Donnie’s gang of eccentrics. The singer/songwriters Beth Ditto and Kim Gordon recount their stories alongside the mad-eyed German actor Udo Kier and a mostly silent Tony Greenhand a.k.a. The World’s Greatest Joint Roller. But Callahan especially bonds with Donnie, who shares his sense of humor, and who counsels him when his newly sober emotions swing out of control.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the course of the film, Callahan has an affair with Annu (Rooney Mara), a Scandinavian social worker/therapist he meets in the hospital after his accident. The two actors were also paired Spike Jonze’s \u003ci>Her\u003c/i> (2013), where Mara had a lot more to do and say than look ethereal. In \u003ci>Don’t Worry\u003c/i>, her hospital job, her specific origins and what becomes of their relationship never gets spelled out. Van Sant writes very few lines for Annu and that plays into Mara’s talent for projecting an inviolable mystique. Per usual, her spiritual radiance remains intact but the character she plays drifts out of Callahan’s life as if she’d never been real. She leaves us with the suggestion that, perhaps, he’d only imagined her into being.\u003c/p>\n\u003cfigure id=\"attachment_13837285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg\" alt=\"Rooney Mara stars as Annu in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rooney Mara stars as Annu in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director doesn’t delve very far into Callahan’s artistic imagination either. \u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> is instead Callahan’s tale of redemption through a 12-step program. To paraphrase James Joyce, it’s a portrait of the artist as a young alcoholic. Once sober, we see Phoenix pick up a black felt tip pen and start drawing comic characters—but Van Sant doesn’t amplify the moment. Unlike R. Crumb’s underground comics in Terry Zwigoff’s \u003ci>Crumb\u003c/i> (1994), Callahan’s comics don’t drive the narrative. His recovery does. What Van Sant and Phoenix emphasize about Callahan’s life—and what makes it heroic enough to sustain a two hour film—was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair.\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>‘Don’t Worry, He Won’t Get Far on Foot’ opens Thursday, July 19 at the AMC Kabuki.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Gus Van Sant's biopic about a darkly sardonic Portland cartoonist, a paraplegic who battled alcoholism, is far more earnest than its subject. ",
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"description": "Gus Van Sant's biopic about a darkly sardonic Portland cartoonist, a paraplegic who battled alcoholism, is far more earnest than its subject. ",
"title": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative | KQED",
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"headline": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of a desert plain, a sheriff and his deputy stand stock still on horseback. An empty wheelchair sits immobile in front of them. Wearing a cowboy hat, the sheriff turns to his sidekick and says, “Don’t worry, he won’t get far on foot.”\u003c/p>\n\u003cp>That’s the caption on \u003ca href=\"https://dx35vtwkllhj9.cloudfront.net/amazonstudios/dont-worry-he-wont-get-far-on-foot/images/regions/us/illustration.jpg\" target=\"_blank\" rel=\"noopener\">a black-and-white cartoon\u003c/a> drawn by the late \u003ca href=\"https://en.wikipedia.org/wiki/John_Callahan_(cartoonist)\" target=\"_blank\" rel=\"noopener\">John Callahan\u003c/a> (1951-2010) and the name of a new Gus Van Sant film about the cartoonist. The panel offers a typical example of Callahan’s wry sense of humor, but unlike the cartoon, the tone of this biopic is earnest—not sardonic.\u003c/p>\n\u003cp>\u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> fits into the “Poignant Melodrama” section of Van Sant’s oeuvre, along with films like \u003ci>Good Will Hunting\u003c/i>, \u003ci>Milk\u003c/i> and \u003ci>Finding Forrester\u003c/i>. The more experimental filmmaker behind \u003ci>Elephant\u003c/i>, \u003ci>Gerry\u003c/i> and \u003ci>My Own Private Idaho\u003c/i> here relies on Joaquin Phoenix’s performance to provide moments of emotional unpredictability. Animated versions of Callahan’s trenchant cartoons break the story up from time to time, but they don’t appear often enough to truly resonate. Instead, the three-time Academy Award nominee plays the stormy figure at the center of a conventional narrative.\u003c/p>\n\u003cfigure id=\"attachment_13837283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix stars as John Callahan in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phoenix portrays Callahan at various stages in his life—as a paraplegic, as a recovering alcoholic and as a cartoonist for the \u003ci>Willamette Week\u003c/i> in Portland, Oregon. Van Sant, who is also credited with writing the screenplay, doesn’t adhere to a chronological telling of that narrative arc. By layering and overlapping different versions of the same man, the director appears to be extracting, or at least simulating, Callahan’s actual memories. A warm orange or sepia-toned filter signals scenes set in the past, specifically the 1970s, when Callahan gets into the car accident that leaves him paralyzed for the rest of his life.\u003c/p>\n\u003cp>The familiar elements of tragic accident and subsequent recovery in \u003ci>Don’t Worry\u003c/i>’s plot recall films like John Sayle’s 1992 \u003ci>Passion Fish\u003c/i> (with Mary McDonnell) and last year’s \u003ci>Stronger\u003c/i>, which starred Jake Gyllenhaal. Both of those films feature characters who become disabled—McDonnell’s fictional soap opera actress also suffers a car accident and Gyllenhaal plays the real-life Jeff Bauman, who was critically injured at the Boston Marathon bombing. We watch the actors as they adjust to, and also psychologically resist, the way their bodies have been changed. In this respect, Van Sant’s film is no different, except that Callahan’s physical recovery runs parallel to his recovery from alcoholism. And so half of \u003ci>Don’t Worry\u003c/i> is devoted to a therapy group that Callahan finds at an Alcoholics Anonymous meeting.\u003c/p>\n\u003cfigure id=\"attachment_13837284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Black as Dexter and Joaquin Phoenix as John Callahan star in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group meets weekly at the posh house his A.A. sponsor Donnie (Jonah Hill) inherited from his family. Van Sant’s camera circles the room, filming confessions from a cast filled with unexpected cameos. Phoenix, who could never play an everyman, fits right in with Donnie’s gang of eccentrics. The singer/songwriters Beth Ditto and Kim Gordon recount their stories alongside the mad-eyed German actor Udo Kier and a mostly silent Tony Greenhand a.k.a. The World’s Greatest Joint Roller. But Callahan especially bonds with Donnie, who shares his sense of humor, and who counsels him when his newly sober emotions swing out of control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the course of the film, Callahan has an affair with Annu (Rooney Mara), a Scandinavian social worker/therapist he meets in the hospital after his accident. The two actors were also paired Spike Jonze’s \u003ci>Her\u003c/i> (2013), where Mara had a lot more to do and say than look ethereal. In \u003ci>Don’t Worry\u003c/i>, her hospital job, her specific origins and what becomes of their relationship never gets spelled out. Van Sant writes very few lines for Annu and that plays into Mara’s talent for projecting an inviolable mystique. Per usual, her spiritual radiance remains intact but the character she plays drifts out of Callahan’s life as if she’d never been real. She leaves us with the suggestion that, perhaps, he’d only imagined her into being.\u003c/p>\n\u003cfigure id=\"attachment_13837285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg\" alt=\"Rooney Mara stars as Annu in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rooney Mara stars as Annu in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director doesn’t delve very far into Callahan’s artistic imagination either. \u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> is instead Callahan’s tale of redemption through a 12-step program. To paraphrase James Joyce, it’s a portrait of the artist as a young alcoholic. Once sober, we see Phoenix pick up a black felt tip pen and start drawing comic characters—but Van Sant doesn’t amplify the moment. Unlike R. Crumb’s underground comics in Terry Zwigoff’s \u003ci>Crumb\u003c/i> (1994), Callahan’s comics don’t drive the narrative. His recovery does. What Van Sant and Phoenix emphasize about Callahan’s life—and what makes it heroic enough to sustain a two hour film—was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair.\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>‘Don’t Worry, He Won’t Get Far on Foot’ opens Thursday, July 19 at the AMC Kabuki.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\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/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\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/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To rescue his kidnapped fiancee, an earnest dandy rides into the wilderness, accompanied by a fake preacher and a miniature horse. That’s the setup for \u003cem>Damsel\u003c/em>, a deadpan farce filmed on the rocky Utah turf of classic John Ford Westerns. David and Nathan Zellner are on another cinematic quest.\u003c/p>\n\u003cp>The sibling writer-directors’ 2014 \u003cem>Kumiko, the Treasure Hunter\u003c/em> dispatched a young Japanese woman to the domain of a better-known pair of movie-making brothers, the Coens. After mistaking \u003cem>Fargo \u003c/em>for a true story, she sought that movie’s fictional loot. The protagonist of \u003cem>Damsel \u003c/em>is similarly deluded, but not as central to the story as the heroine of the Zellners’ previous lark. The filmmakers have less patience for prissy Samuel Alabaster (Robert Pattinson) than they did for clueless Kumiko.\u003c/p>\n\u003cp>https://youtu.be/HikYI0jIAwU\u003c/p>\n\u003cp>The first of the principal characters to be introduced is so-called Parson Henry. (He’s played by David Zellner, whose \u003cem>Kumiko \u003c/em>cop was similarly slow-witted.) In a droll prologue, Henry is ceded a battered Bible and preacher clothes by a fed-up frontier clergyman (Robert Forster) who promptly vanishes.\u003c/p>\n\u003cp>A refugee from Baltimore, Henry is more interested in cadging drinks than saving souls. Samuel enlists him for the mission to free Penelope (Mia Wasikowska), planning that the preacher will marry the couple after the heroic deed is accomplished.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The miniature horse, named Butterscotch, is a wedding present for Penelope. Samuel thinks she wants one, but he’s wrong about that — and a whole lot more.\u003c/p>\n\u003cp>In the movie’s second act, the damsel becomes the central character, while Henry remains the sidekick. Also featured are two frontiersmen (one played by the other Zellner brother), a grave but cynical Native American (the late Joseph Billingiere, in his final role), and a wolf that appears as tame as Butterscotch. The principal danger in this Wild West is human stupidity.\u003c/p>\n\u003cp>While the locations are authentic, everything else in \u003cem>Damsel \u003c/em>is, intentionally, a little off. The songs, which include a yodeling showcase and a sweet-toothed ode to Penelope warbled by Samuel, are ridiculous. The dialogue is studded with contemporary jargon, some of it seemingly lifted from self-help books. This is the sort of movie where a 19th-century vigilante explains that he’s keeping “a low profile.”\u003c/p>\n\u003cp>For Pattinson, \u003cem>Damsel \u003c/em>isn’t an attempt to be low-profile. Rather, he means to obliterate his profile, happy to play the fool if that will dispel his tortured \u003cem>Twilight \u003c/em>persona. The actor’s high-pitched Samuel is a less flamboyant performance than the blustering thug he played in \u003cem>Good Time\u003c/em>, but it further demonstrates his versatility and lack of vanity.\u003c/p>\n\u003cp>Wasikowska is no less impressive, although in a very different mode. She plays the one person in the movie who ought to be taken seriously — a thankless role in a comedy. That Penelope can take care of herself is not quite enough to make the film, as some have termed it, a “feminist Western.”\u003c/p>\n\u003cp>\u003cem>Damsel \u003c/em>goes for rueful smiles, not uproarious laughs. Its most cartoonish moment is one that aims to mock-and-awe with violence, full-frontal nudity, and another movie taboo. Crucially, the Zellners take this and other developments very slowly, giving the movie the pace of a meditation rather than a burlesque. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even sympathetic viewers may weary of scenes that routinely last a few breaths too long, or asides that stall more than they amuse. Likable as \u003cem>Damsel \u003c/em>is, there’s just not much to it, and the Zellners don’t improve their modest scenario by stretching it so thin.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To rescue his kidnapped fiancee, an earnest dandy rides into the wilderness, accompanied by a fake preacher and a miniature horse. That’s the setup for \u003cem>Damsel\u003c/em>, a deadpan farce filmed on the rocky Utah turf of classic John Ford Westerns. David and Nathan Zellner are on another cinematic quest.\u003c/p>\n\u003cp>The sibling writer-directors’ 2014 \u003cem>Kumiko, the Treasure Hunter\u003c/em> dispatched a young Japanese woman to the domain of a better-known pair of movie-making brothers, the Coens. After mistaking \u003cem>Fargo \u003c/em>for a true story, she sought that movie’s fictional loot. The protagonist of \u003cem>Damsel \u003c/em>is similarly deluded, but not as central to the story as the heroine of the Zellners’ previous lark. The filmmakers have less patience for prissy Samuel Alabaster (Robert Pattinson) than they did for clueless Kumiko.\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/HikYI0jIAwU'\n title='//www.youtube.com/embed/HikYI0jIAwU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first of the principal characters to be introduced is so-called Parson Henry. (He’s played by David Zellner, whose \u003cem>Kumiko \u003c/em>cop was similarly slow-witted.) In a droll prologue, Henry is ceded a battered Bible and preacher clothes by a fed-up frontier clergyman (Robert Forster) who promptly vanishes.\u003c/p>\n\u003cp>A refugee from Baltimore, Henry is more interested in cadging drinks than saving souls. Samuel enlists him for the mission to free Penelope (Mia Wasikowska), planning that the preacher will marry the couple after the heroic deed is accomplished.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The miniature horse, named Butterscotch, is a wedding present for Penelope. Samuel thinks she wants one, but he’s wrong about that — and a whole lot more.\u003c/p>\n\u003cp>In the movie’s second act, the damsel becomes the central character, while Henry remains the sidekick. Also featured are two frontiersmen (one played by the other Zellner brother), a grave but cynical Native American (the late Joseph Billingiere, in his final role), and a wolf that appears as tame as Butterscotch. The principal danger in this Wild West is human stupidity.\u003c/p>\n\u003cp>While the locations are authentic, everything else in \u003cem>Damsel \u003c/em>is, intentionally, a little off. The songs, which include a yodeling showcase and a sweet-toothed ode to Penelope warbled by Samuel, are ridiculous. The dialogue is studded with contemporary jargon, some of it seemingly lifted from self-help books. This is the sort of movie where a 19th-century vigilante explains that he’s keeping “a low profile.”\u003c/p>\n\u003cp>For Pattinson, \u003cem>Damsel \u003c/em>isn’t an attempt to be low-profile. Rather, he means to obliterate his profile, happy to play the fool if that will dispel his tortured \u003cem>Twilight \u003c/em>persona. The actor’s high-pitched Samuel is a less flamboyant performance than the blustering thug he played in \u003cem>Good Time\u003c/em>, but it further demonstrates his versatility and lack of vanity.\u003c/p>\n\u003cp>Wasikowska is no less impressive, although in a very different mode. She plays the one person in the movie who ought to be taken seriously — a thankless role in a comedy. That Penelope can take care of herself is not quite enough to make the film, as some have termed it, a “feminist Western.”\u003c/p>\n\u003cp>\u003cem>Damsel \u003c/em>goes for rueful smiles, not uproarious laughs. Its most cartoonish moment is one that aims to mock-and-awe with violence, full-frontal nudity, and another movie taboo. Crucially, the Zellners take this and other developments very slowly, giving the movie the pace of a meditation rather than a burlesque. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even sympathetic viewers may weary of scenes that routinely last a few breaths too long, or asides that stall more than they amuse. Likable as \u003cem>Damsel \u003c/em>is, there’s just not much to it, and the Zellners don’t improve their modest scenario by stretching it so thin.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With Cunning Casting, 'Hereditary' Dials Up the Horror",
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"content": "\u003cp>It’s 2:38am and I’m convinced there’s someone, or some-thing, in the attic. I have Ari Aster’s first feature film \u003ci>Hereditary\u003c/i> to thank for the past four nights of anxiety-induced sleeplessness. \u003c/p>\n\u003cp>Admittedly, I’m a lightweight when it comes to horror, susceptible to any number of cinematic scare tactics. I was a kid when \u003ci>Jaws\u003c/i> came out in 1975 but every time I’ve gone swimming in the ocean since then my lizard brain insists on the inevitability of being eaten by a great white shark. Why then would I choose to see a film that’s being called “the scariest movie of 2018”? Two words: Toni Collette.\u003c/p>\n\u003cp>When I first read that Collette was the star, my mind raced back to her Academy Award-nominated performance in \u003ci>The Sixth Sense \u003c/i>. In that M. Night Shyamalan film, she played the devoted mother of wide-eyed Haley Joel Osment, the kid who saw dead people while hanging out with Bruce Willis. \u003c/p>\n\u003cp>The \u003ci>Hereditary\u003c/i> poster features an unsmiling Collette with an equally unsmiling girl, presumably her daughter. This advertisement (mis)leads one to expect a parallel ghost story, a thoughtful sequel of sorts. \u003ci>The Seventh Sense\u003c/i>, if you will. But Aster cast Collette in the role deliberately—and I’m not exaggerating when I say—to turn our expectations of the consistently sympathetic actress upside down and inside out.\u003c/p>\n\u003cfigure id=\"attachment_13834629\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Casting is one of the key factors that lends familiarity and an intimacy to the unsettling world \u003ci>Hereditary\u003c/i> lays out. Annie (Collette) and Steve (Gabriel Byrne) live with their teenage son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro). Their enormous country house is surrounded by tall trees, and isolated by them (the film was shot on location in a pristine suburb of Salt Lake City, Utah). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Byrne’s best known for portraying laconic, passive men like the brooding psychiatrist he played in the HBO series \u003ci>In Treatment\u003c/i>. Like that character, \u003ci>Hereditary\u003c/i>‘s Steve also deliberates, endlessly, and is acted upon rather than taking action himself. When, despite her escalating moods, Annie begs him to trust her, he folds—as we expect him to do.\u003c/p>\n\u003cp>The film opens on the afternoon of a funeral. Aster establishes a lugubrious atmosphere with an opening shot that slowly pans through a doll’s house, a meticulous reproduction of the family’s own home. The camera stops on what is certainly a doll—but isn’t. Steve enters his son’s room and the doll version of Peter wakes up from under the covers. \u003c/p>\n\u003cp>It’s an unsettling visual sleight indicating a secret and separate life of a house within the house, out of sync with its beautiful façade. And Annie, an artist, is the one who’s built and painted it to look oh-so real. The subtext inherent in the initial camera pan is also too deliberate to ignore: this family is under close observation by unseen eyes.\u003c/p>\n\u003cfigure id=\"attachment_13834632\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette and Ann Dowd (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Annie’s mother who recently died. But when she delivers the eulogy, Annie confesses to years of estrangement between them. \u003ci>Hereditary\u003c/i> begins with people in mourning, but the director, who also wrote the film, maintains and extends that grim tone by troubling the family further—with what feels like an inexhaustible store of grief.\u003c/p>\n\u003cp>This is the third movie released in the past two years that concerns itself with the disintegration of the American nuclear family. Both \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003ci>Mother!\u003c/i>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">\u003ci>The Killing of a Sacred Deer\u003c/i>\u003c/a> offered ritualistic pagan sacrifice as a means to assuage, if not cure, a family’s inability to relate to each other and function in the world outside of the home. Despite some occasional cheesy special effects that signal spectral presences, \u003ci><Hereditary\u003c/i> provides yet another testament to the fact that something’s gone wrong deep inside the collective American psyche—an argument that has to go untested here so the ending remains unspoiled.\u003c/p>\n\u003cfigure id=\"attachment_13834633\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg\" alt=\"\" width=\"576\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-520x322.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Alex Wolff (Photo courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Because they’re relatively unknown to audiences, the movie’s wildcards are the kids, Wolff and Shapiro. Their reactions are unfamiliar to us and they add a destabilizing effect to the narrative. The presence of Ann Dowd as Joan, a newfound friend of Annie’s, does too, but in the way we’ve come to expect from her. In \u003ci>The Leftovers\u003c/i> and \u003ci>The Handmaid’s Tale\u003c/i>, Dowd summons menace with remarkable ease. Given her past relationship with a mother figure, Annie ought to know better than to trust in Joan. When she does, it becomes clear that Collette was cast not only for her association with the supernatural, but because of her role as an unpredictable wife and mother suffering from multiple personalities in \u003ci>The United States of Tara\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hereditary\u003c/i> banks on the audience’s willingness to trust Collette, hoping we’ll ignore or have forgotten the unpredictable side of the actress. Annie had a bad mother and the genes she inherited from her are turning out to be the dominant ones in her DNA. The film terrifies not because of frightening things in the attic, but because of what those frightening things imply. According to Aster’s design, nature triumphs over nurture. Instead of protecting them from harm, Peter and Charlie’s mother can damage them irreparably, and without any of them ever knowing the reasons why.\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>\u003c/p>\n\u003cp>\u003ci>‘Hereditary’ is now playing in San Francisco at the Alamo Drafthouse Cinema, Century San Francisco Centre 9 and AMC Metreon 16.\u003c/i>\u003c/p>\n\n",
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"title": "With Cunning Casting, 'Hereditary' Dials Up the Horror | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 2:38am and I’m convinced there’s someone, or some-thing, in the attic. I have Ari Aster’s first feature film \u003ci>Hereditary\u003c/i> to thank for the past four nights of anxiety-induced sleeplessness. \u003c/p>\n\u003cp>Admittedly, I’m a lightweight when it comes to horror, susceptible to any number of cinematic scare tactics. I was a kid when \u003ci>Jaws\u003c/i> came out in 1975 but every time I’ve gone swimming in the ocean since then my lizard brain insists on the inevitability of being eaten by a great white shark. Why then would I choose to see a film that’s being called “the scariest movie of 2018”? Two words: Toni Collette.\u003c/p>\n\u003cp>When I first read that Collette was the star, my mind raced back to her Academy Award-nominated performance in \u003ci>The Sixth Sense \u003c/i>. In that M. Night Shyamalan film, she played the devoted mother of wide-eyed Haley Joel Osment, the kid who saw dead people while hanging out with Bruce Willis. \u003c/p>\n\u003cp>The \u003ci>Hereditary\u003c/i> poster features an unsmiling Collette with an equally unsmiling girl, presumably her daughter. This advertisement (mis)leads one to expect a parallel ghost story, a thoughtful sequel of sorts. \u003ci>The Seventh Sense\u003c/i>, if you will. But Aster cast Collette in the role deliberately—and I’m not exaggerating when I say—to turn our expectations of the consistently sympathetic actress upside down and inside out.\u003c/p>\n\u003cfigure id=\"attachment_13834629\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_06036_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Casting is one of the key factors that lends familiarity and an intimacy to the unsettling world \u003ci>Hereditary\u003c/i> lays out. Annie (Collette) and Steve (Gabriel Byrne) live with their teenage son Peter (Alex Wolff) and daughter Charlie (Milly Shapiro). Their enormous country house is surrounded by tall trees, and isolated by them (the film was shot on location in a pristine suburb of Salt Lake City, Utah). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Byrne’s best known for portraying laconic, passive men like the brooding psychiatrist he played in the HBO series \u003ci>In Treatment\u003c/i>. Like that character, \u003ci>Hereditary\u003c/i>‘s Steve also deliberates, endlessly, and is acted upon rather than taking action himself. When, despite her escalating moods, Annie begs him to trust her, he folds—as we expect him to do.\u003c/p>\n\u003cp>The film opens on the afternoon of a funeral. Aster establishes a lugubrious atmosphere with an opening shot that slowly pans through a doll’s house, a meticulous reproduction of the family’s own home. The camera stops on what is certainly a doll—but isn’t. Steve enters his son’s room and the doll version of Peter wakes up from under the covers. \u003c/p>\n\u003cp>It’s an unsettling visual sleight indicating a secret and separate life of a house within the house, out of sync with its beautiful façade. And Annie, an artist, is the one who’s built and painted it to look oh-so real. The subtext inherent in the initial camera pan is also too deliberate to ignore: this family is under close observation by unseen eyes.\u003c/p>\n\u003cfigure id=\"attachment_13834632\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-H_01867_rgb-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Toni Collette and Ann Dowd (Photo by Reid Chavis, courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Annie’s mother who recently died. But when she delivers the eulogy, Annie confesses to years of estrangement between them. \u003ci>Hereditary\u003c/i> begins with people in mourning, but the director, who also wrote the film, maintains and extends that grim tone by troubling the family further—with what feels like an inexhaustible store of grief.\u003c/p>\n\u003cp>This is the third movie released in the past two years that concerns itself with the disintegration of the American nuclear family. Both \u003ca href=\"https://www.kqed.org/arts/13808519/darren-aronofsky-invents-a-bleak-mythology-for-jennifer-lawrence-in-mother\">\u003ci>Mother!\u003c/i>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812769/director-yorgos-lanthimos-catches-a-sacred-deer-in-his-headlights\">\u003ci>The Killing of a Sacred Deer\u003c/i>\u003c/a> offered ritualistic pagan sacrifice as a means to assuage, if not cure, a family’s inability to relate to each other and function in the world outside of the home. Despite some occasional cheesy special effects that signal spectral presences, \u003ci><Hereditary\u003c/i> provides yet another testament to the fact that something’s gone wrong deep inside the collective American psyche—an argument that has to go untested here so the ending remains unspoiled.\u003c/p>\n\u003cfigure id=\"attachment_13834633\" class=\"wp-caption alignright\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13834633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg\" alt=\"\" width=\"576\" height=\"357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/hereditary-HER_PULL_0404_82_1_rgb-520x322.jpg 520w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">‘Hereditary’ – Alex Wolff (Photo courtesy of A24)\u003c/figcaption>\u003c/figure>\n\u003cp>Because they’re relatively unknown to audiences, the movie’s wildcards are the kids, Wolff and Shapiro. Their reactions are unfamiliar to us and they add a destabilizing effect to the narrative. The presence of Ann Dowd as Joan, a newfound friend of Annie’s, does too, but in the way we’ve come to expect from her. In \u003ci>The Leftovers\u003c/i> and \u003ci>The Handmaid’s Tale\u003c/i>, Dowd summons menace with remarkable ease. Given her past relationship with a mother figure, Annie ought to know better than to trust in Joan. When she does, it becomes clear that Collette was cast not only for her association with the supernatural, but because of her role as an unpredictable wife and mother suffering from multiple personalities in \u003ci>The United States of Tara\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Hereditary\u003c/i> banks on the audience’s willingness to trust Collette, hoping we’ll ignore or have forgotten the unpredictable side of the actress. Annie had a bad mother and the genes she inherited from her are turning out to be the dominant ones in her DNA. The film terrifies not because of frightening things in the attic, but because of what those frightening things imply. According to Aster’s design, nature triumphs over nurture. Instead of protecting them from harm, Peter and Charlie’s mother can damage them irreparably, and without any of them ever knowing the reasons why.\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>\u003c/p>\n\u003cp>\u003ci>‘Hereditary’ is now playing in San Francisco at the Alamo Drafthouse Cinema, Century San Francisco Centre 9 and AMC Metreon 16.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Adios Amor,' A Forgotten Farmworker and Organizer Gets Her Due",
"headTitle": "In ‘Adios Amor,’ A Forgotten Farmworker and Organizer Gets Her Due | KQED",
"content": "\u003cp>Before Dolores Huerta, before César Chávez, before the United Farm Workers movement, a woman named Maria Moreno was the first female farmworker hired as a union organizer in the United States. If this isn’t enough to impress, she was also the mother of 12 children. In her speeches, she told her family’s story, one of personal tragedy, hunger and backbreaking work, to rally her fellow migrant workers—Mexican American, Filipino, black and white—to the union cause. \u003c/p>\n\u003cp>https://youtu.be/5Cqyj-MPcJg\u003c/p>\n\u003cp>Forgotten by history after she was fired for being “too independent,” her work eclipsed by the more successful movements of the 60s and 70s, Moreno’s story might have ended there. But while researching another documentary project, San Francisco filmmaker Laurie Coyle came across George Ballis’ stunning photographs of an unidentified Moreno organizing for farmworkers’ rights. And twenty years after that discovery (time spent working on “numerous documentaries about illustrious men”), Coyle returned to the images and began her search for Maria Moreno.\u003c/p>\n\u003cp>The fruit of Coyle’s labors is an \u003ca href=\"https://www.adiosamorfilm.com/\" rel=\"noopener\" target=\"_blank\">hour-long documentary that\u003c/a>, along with Peter Bratt’s recent \u003ci>\u003ca href=\"https://www.kqed.org/arts/13807547/new-documentary-about-dolores-huerta-aims-to-set-the-record-straight\" rel=\"noopener\" target=\"_blank\">Dolores\u003c/a>\u003c/i>, proves just how many strong, outspoken women shaped California history—and how many of their stories have yet to be brought to light.\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>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Adios Amor: The Search for Maria Moreno’ plays Friday, June 8 at 7:15pm and Saturday, June 9 at 12:30pm at San Francisco’s Roxie THeater as part of SF DocFest. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=374959~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=72d561b4-fe99-490e-9831-5b457078f6de&\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Dolores Huerta, before César Chávez, before the United Farm Workers movement, a woman named Maria Moreno was the first female farmworker hired as a union organizer in the United States. If this isn’t enough to impress, she was also the mother of 12 children. In her speeches, she told her family’s story, one of personal tragedy, hunger and backbreaking work, to rally her fellow migrant workers—Mexican American, Filipino, black and white—to the union cause. \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/5Cqyj-MPcJg'\n title='//www.youtube.com/embed/5Cqyj-MPcJg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forgotten by history after she was fired for being “too independent,” her work eclipsed by the more successful movements of the 60s and 70s, Moreno’s story might have ended there. But while researching another documentary project, San Francisco filmmaker Laurie Coyle came across George Ballis’ stunning photographs of an unidentified Moreno organizing for farmworkers’ rights. And twenty years after that discovery (time spent working on “numerous documentaries about illustrious men”), Coyle returned to the images and began her search for Maria Moreno.\u003c/p>\n\u003cp>The fruit of Coyle’s labors is an \u003ca href=\"https://www.adiosamorfilm.com/\" rel=\"noopener\" target=\"_blank\">hour-long documentary that\u003c/a>, along with Peter Bratt’s recent \u003ci>\u003ca href=\"https://www.kqed.org/arts/13807547/new-documentary-about-dolores-huerta-aims-to-set-the-record-straight\" rel=\"noopener\" target=\"_blank\">Dolores\u003c/a>\u003c/i>, proves just how many strong, outspoken women shaped California history—and how many of their stories have yet to be brought to light.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Adios Amor: The Search for Maria Moreno’ plays Friday, June 8 at 7:15pm and Saturday, June 9 at 12:30pm at San Francisco’s Roxie THeater as part of SF DocFest. \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=374959~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=72d561b4-fe99-490e-9831-5b457078f6de&\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The centerpiece at this year’s \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a> features vermin as the star performers. \u003cem>Rodents of Unusual Size\u003c/em> tracks the destruction the humungous rat-like nutria have wrought upon the Louisiana wetlands. But the locals are fighting against this invasive and fast-breeding species of rodent with a variety of inventive responses (add “fur coat” to that memorable sign “Pets or Meat” from Michael Moore’s \u003cem>Roger & Me\u003c/em> and you’ll get the idea).\u003c/p>\n\u003cp>KQED went behind the scenes of \u003cem>Rodents Of Unusual Size\u003c/em> with filmmakers Jeff Springer, Quinn Costello, and Chris Metzler.\u003c/p>\n\u003cp>\u003cstrong>Who came up with the idea that the Louisiana nutria could be the basis for your documentary \u003cem>Rodents of Unusual Size\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chris Metzler:\u003c/strong> Many years ago when I was on the theatrical tour for \u003cem>Plagues & Pleasures on the Salton Sea\u003c/em>, I became friends with a programmer who was from a generations-old Cajun family in the southeast part of Louisiana and she introduced me to the subject of nutria.\u003c/p>\n\u003cp>\u003cstrong>Quinn Costello:\u003c/strong> I had heard about the nutria phenomenon from a friend who had been an environmental researcher in Louisiana. Jeff, Chris and I kept kicking around ideas about how best to approach the story. At one point we just decided that we needed to jump on an airplane and head to Louisiana.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jeff Springer:\u003c/strong> Once we got down there, you get taken in by beauty of the area, the sheer number of nutria that were destroying it, and the unbelievable dedication and joy of the people who were tackling the issue.\u003c/p>\n\u003cp>\u003cstrong>How did you meet the charismatic Thomas Gonzales (a fisherman and now nutria hunter) and develop a relationship with him?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> I was cold calling a bunch of nutria hunters ahead of our trip to Louisiana and somebody suggested Gonzales, “because he’s the king of the nutria hunters.” As soon as he picked up the phone, I knew this was somebody that I really wanted to meet. When we met him for the first time, after about 10 minutes, we were on his boat checking out the area that had been ravaged by hurricanes. He had such a unique and joyful disposition despite having lost everything so many times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Everyone you film seems happy to talk about the subject. Did you have any trouble as outsiders in winning over the trust of the locals?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> One hurdle that we had to overcome was the fact that there are so many reality TV shows that are being filmed in Louisiana. However, after spending time with folks with the camera turned off, they start to understand that we’re really there to listen and to tell their story respectfully. Despite being outsiders, there was just this enormous amount of trust right off the bat. We were all amazed at that because it’s something that is unique to that part of the country and it comes with their hospitality and their pride in their culture and good humor.\u003c/p>\n\u003cp>There were a few people along the way that didn’t want to participate because they had been caricatured negatively in the press and reality tv. One guy had received serious threats from animal rights groups because he trapped nutria. Even though he didn’t want to be filmed he ended up being a huge help in showing us around the area and introducing us to people. It was pretty rare for somebody to slam the door in our face.\u003c/p>\n\u003cp>\u003cstrong>Did it take some getting used to filming all the corpses and scenes of skinning and hacked off tails?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> It was definitely a new experience, as none of us are hunters. But with that said, putting ourselves in new situations is one of things we really enjoy about making documentaries. So at first I think we were just really curious. It probably was tougher for Jeff because — being both a director and cinematographer — he had put his face up close and personal with all of those nutria.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> You would think so, but strangely, the camera wound up making it even easier to watch all of this happen. Looking through the lens or at the viewfinder creates a barrier to the action you are witnessing and so you feel a bit detached. But as the bodies pile up (any given hunt could yield a body count as high as 300 nutrias) and you look up from the camera, it quickly brings you back to reality.\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> And then after a while, when you see the destruction they cause and consider how many other animals are going to suffer because of that, we started to understand and accept that hunting is just part of what’s necessary and controlling their numbers. Also, hunting is not just about collecting food. It’s really an activity that bonds families together.\u003c/p>\n\u003cfigure id=\"attachment_13834041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg\" alt=\"Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is all of the hunting making significant progress against the numbers of nutria? The man trapping nutria at the suburban golf course: was he a private citizen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> The Nutria Control Program is making enormous strides in controlling their numbers. Over the course of the program, they’ve gone from more than 20 million down to about 5 million. I’d say that there has been a lot of success, although as Thomas says, “as long as there are two left, there’s going to be millions more.” There is no way of getting around it: nutria like to breed and have lots of babies.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> The man trapping nutria at the golf course is a professional animal control officer named Michael Beran. He has his own company called Wildlife Command Center and he gets hired out by various cities and private concerns like the golf course to eradicate nutria and other “problematic” animals. He’s a really great guy and we’ve been lucky enough to have him attend some film festivals with us. With SF DocFest, he’ll be part of the Q&A so that should be a lot of fun.\u003c/p>\n\u003cp>\u003cstrong>You offered nutria meat as a gift on the Kickstarter campaign. Did anyone take you up on that offer?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> There was a disappointing lack of enthusiasm for that particular incentive, as people would choose it for a reward and then not want to receive it. We have a freezer still stocked with it. Anyone up for a \u003ca href=\"https://vimeo.com/64974150\" target=\"_blank\" rel=\"noopener\">San Francisco nutria BBQ\u003c/a>?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Rodents of Unusual Size’ opens at the Alamo Drafthouse New Mission Theater in San Francisco on Friday, Aug. 31. For more information, \u003ca href=\"http://rodentsofunusualsize.tv/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The centerpiece at this year’s \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a> features vermin as the star performers. \u003cem>Rodents of Unusual Size\u003c/em> tracks the destruction the humungous rat-like nutria have wrought upon the Louisiana wetlands. But the locals are fighting against this invasive and fast-breeding species of rodent with a variety of inventive responses (add “fur coat” to that memorable sign “Pets or Meat” from Michael Moore’s \u003cem>Roger & Me\u003c/em> and you’ll get the idea).\u003c/p>\n\u003cp>KQED went behind the scenes of \u003cem>Rodents Of Unusual Size\u003c/em> with filmmakers Jeff Springer, Quinn Costello, and Chris Metzler.\u003c/p>\n\u003cp>\u003cstrong>Who came up with the idea that the Louisiana nutria could be the basis for your documentary \u003cem>Rodents of Unusual Size\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Chris Metzler:\u003c/strong> Many years ago when I was on the theatrical tour for \u003cem>Plagues & Pleasures on the Salton Sea\u003c/em>, I became friends with a programmer who was from a generations-old Cajun family in the southeast part of Louisiana and she introduced me to the subject of nutria.\u003c/p>\n\u003cp>\u003cstrong>Quinn Costello:\u003c/strong> I had heard about the nutria phenomenon from a friend who had been an environmental researcher in Louisiana. Jeff, Chris and I kept kicking around ideas about how best to approach the story. At one point we just decided that we needed to jump on an airplane and head to Louisiana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jeff Springer:\u003c/strong> Once we got down there, you get taken in by beauty of the area, the sheer number of nutria that were destroying it, and the unbelievable dedication and joy of the people who were tackling the issue.\u003c/p>\n\u003cp>\u003cstrong>How did you meet the charismatic Thomas Gonzales (a fisherman and now nutria hunter) and develop a relationship with him?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> I was cold calling a bunch of nutria hunters ahead of our trip to Louisiana and somebody suggested Gonzales, “because he’s the king of the nutria hunters.” As soon as he picked up the phone, I knew this was somebody that I really wanted to meet. When we met him for the first time, after about 10 minutes, we were on his boat checking out the area that had been ravaged by hurricanes. He had such a unique and joyful disposition despite having lost everything so many times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834026\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUS4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUS4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Everyone you film seems happy to talk about the subject. Did you have any trouble as outsiders in winning over the trust of the locals?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> One hurdle that we had to overcome was the fact that there are so many reality TV shows that are being filmed in Louisiana. However, after spending time with folks with the camera turned off, they start to understand that we’re really there to listen and to tell their story respectfully. Despite being outsiders, there was just this enormous amount of trust right off the bat. We were all amazed at that because it’s something that is unique to that part of the country and it comes with their hospitality and their pride in their culture and good humor.\u003c/p>\n\u003cp>There were a few people along the way that didn’t want to participate because they had been caricatured negatively in the press and reality tv. One guy had received serious threats from animal rights groups because he trapped nutria. Even though he didn’t want to be filmed he ended up being a huge help in showing us around the area and introducing us to people. It was pretty rare for somebody to slam the door in our face.\u003c/p>\n\u003cp>\u003cstrong>Did it take some getting used to filming all the corpses and scenes of skinning and hacked off tails?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> It was definitely a new experience, as none of us are hunters. But with that said, putting ourselves in new situations is one of things we really enjoy about making documentaries. So at first I think we were just really curious. It probably was tougher for Jeff because — being both a director and cinematographer — he had put his face up close and personal with all of those nutria.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> You would think so, but strangely, the camera wound up making it even easier to watch all of this happen. Looking through the lens or at the viewfinder creates a barrier to the action you are witnessing and so you feel a bit detached. But as the bodies pile up (any given hunt could yield a body count as high as 300 nutrias) and you look up from the camera, it quickly brings you back to reality.\u003c/p>\n\u003cp>\u003cstrong>QC:\u003c/strong> And then after a while, when you see the destruction they cause and consider how many other animals are going to suffer because of that, we started to understand and accept that hunting is just part of what’s necessary and controlling their numbers. Also, hunting is not just about collecting food. It’s really an activity that bonds families together.\u003c/p>\n\u003cfigure id=\"attachment_13834041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg\" alt=\"Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/ROUSuse_Thomas-Gonzales-defending-Delacroix-Island-Louisiana-from-the-invasion-of-nutria-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Gonzales defending Delacroix Island, Louisiana from the invasion of nutria \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is all of the hunting making significant progress against the numbers of nutria? The man trapping nutria at the suburban golf course: was he a private citizen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> The Nutria Control Program is making enormous strides in controlling their numbers. Over the course of the program, they’ve gone from more than 20 million down to about 5 million. I’d say that there has been a lot of success, although as Thomas says, “as long as there are two left, there’s going to be millions more.” There is no way of getting around it: nutria like to breed and have lots of babies.\u003c/p>\n\u003cp>\u003cstrong>JS:\u003c/strong> The man trapping nutria at the golf course is a professional animal control officer named Michael Beran. He has his own company called Wildlife Command Center and he gets hired out by various cities and private concerns like the golf course to eradicate nutria and other “problematic” animals. He’s a really great guy and we’ve been lucky enough to have him attend some film festivals with us. With SF DocFest, he’ll be part of the Q&A so that should be a lot of fun.\u003c/p>\n\u003cp>\u003cstrong>You offered nutria meat as a gift on the Kickstarter campaign. Did anyone take you up on that offer?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>CM:\u003c/strong> There was a disappointing lack of enthusiasm for that particular incentive, as people would choose it for a reward and then not want to receive it. We have a freezer still stocked with it. Anyone up for a \u003ca href=\"https://vimeo.com/64974150\" target=\"_blank\" rel=\"noopener\">San Francisco nutria BBQ\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rodents of Unusual Size’ opens at the Alamo Drafthouse New Mission Theater in San Francisco on Friday, Aug. 31. For more information, \u003ca href=\"http://rodentsofunusualsize.tv/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\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\n\u003c/div>\u003c/p>",
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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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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