10 Last Minute Movie-Inspired Costume Ideas for Halloween
Family Ties, Experimental Beats and a Comedy of Errors: What to Watch on ‘Film School Shorts’
GLAS Festival Celebrates Animation Made Without Pixar-Level Budgets
Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’
Meet Ari Gold, the Director from San Francisco Making His Own Path
Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’
Director Imran Khan Talks About Going from Viral Videos to Serious Shorts
Ex-Phantom Planet Guitarist Moves to the World of Film Soundtracks
Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy
Sponsored
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Her writing has also been featured in the \u003cem>East Bay Express\u003c/em>, This Recording, and the Hairpin, and she just finished her first short documentary, \u003cem>Today I am a Man\u003c/em>.","avatar":"https://secure.gravatar.com/avatar/7ef08170f4a1b84816aac945049b1202?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["subscriber"]}],"headData":{"title":"Susan Cohen | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/7ef08170f4a1b84816aac945049b1202?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/7ef08170f4a1b84816aac945049b1202?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/scohen"},"filmss":{"type":"authors","id":"8652","meta":{"index":"authors_1591205172","id":"8652","found":true},"name":"Film School Shorts","firstName":"Film","lastName":"School Shorts","slug":"filmss","email":"filmschoolshorts@KQED.org","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Film School Shorts | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/cb10b2f540e071dd03f4b8862a7272ca?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/filmss"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13812926":{"type":"posts","id":"arts_13812926","meta":{"index":"posts_1591205157","site":"arts","id":"13812926","score":null,"sort":[1509408050000]},"guestAuthors":[],"slug":"10-last-minute-movie-inspired-costume-ideas-for-halloween","title":"10 Last Minute Movie-Inspired Costume Ideas for Halloween","publishDate":1509408050,"format":"standard","headTitle":"10 Last Minute Movie-Inspired Costume Ideas for Halloween | KQED","labelTerm":{"term":569,"site":"arts"},"content":"\u003cp>If you’ve been left scrambling to assemble a Halloween costume in the eleventh hour, consider using your movie knowledge to help you dress to impress. The \u003ca href=\"https://www.facebook.com/FilmSchoolShorts\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> team has curated ten costumes inspired by cinema, ranging from blockbuster hits to the indie arcane, in the hopes of inspiring your Halloween look.\u003c/p>\n\u003cfigure id=\"attachment_13812927\" class=\"wp-caption alignnone\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812927 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg\" alt=\"\" width=\"620\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-520x218.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">A Ghost Story (credit: A24)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. \u003ci>A Ghost Story\u003c/i>\u003c/h3>\n\u003cp>Not one to fret the details? Invest in some extra bedding and recreate a time-honored Halloween staple — the bed sheet ghost. The iconic look was used this year in a meditation on grief called \u003ca href=\"https://ww2.kqed.org/arts/2017/07/14/grief-hangs-around-at-home-in-a-ghost-story/\">\u003cem>A Ghost Story\u003c/em>\u003c/a> by David Lowery. All you need is a pair of scissors and a California King white bed sheet. Besides being easy to make, it’s a costume that decorates itself — throughout your night of revelry, you’ll gather the requisite dust and grime to imply you’ve journeyed through the ages.\u003c/p>\n\u003cfigure id=\"attachment_13812928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812928 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Elgort in Baby Driver (credit: Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. \u003ci>Baby Driver\u003c/i>\u003c/h3>\n\u003cp>Ghouls not your thing? Seize on this year’s smash action flick \u003cem>Baby Driver\u003c/em> by Edgar Wright. Phlegmatic Baby’s look necessitates items that you might already have in your closet: a varsity bomber jacket, dark sunglasses, earbuds and an IDGAF attitude. And if you do plan on driving this Halloween, car insurance.\u003c/p>\n\u003cfigure id=\"attachment_13812929\" class=\"wp-caption alignnone\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg\" alt=\"\" width=\"780\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-520x297.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise in IT (credit: Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. \u003ci>IT\u003c/i>\u003c/h3>\n\u003cp>Do you prefer a costume meant to incite true terror? Then look no further than this year’s horror reboot of \u003cem>IT\u003c/em> by Andy Muschietti. Revive the terror induced by last year’s rash of \u003ca href=\"http://time.com/4518456/scary-clown-sighting-attack-craze/\" target=\"_blank\" rel=\"noopener\">creepy clown sightings\u003c/a> around the country as Stephen King’s monstrous clown creation, Pennywise. The key is not to get lost in the details. You’re sure to find a Halloween makeup kit at any drugstore. Then dig up a pair of baggy pajamas and pick up a red helium balloon on the way to the party, and you’re all set for giving your friends nightmares.\u003c/p>\n\u003cfigure id=\"attachment_13812930\" class=\"wp-caption alignnone\" style=\"max-width: 438px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812930 \" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/pris_blade_runner-e1509135850965.jpg\" alt=\"\" width=\"438\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Pris Stratton played by Daryl Hannah in Blade Runner (credit: Warner Bros Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. \u003ci>Blade Runner\u003c/i>\u003c/h3>\n\u003cp>Another reboot making a resurgence this fall is \u003cem>Blade Runner 2049\u003c/em>, but rather than chasing a trend, take a cue from the original 80’s classic \u003cem>Blade Runner\u003c/em> by Ridley Scott and replicate Pris Stratton – the “basic pleasure model” replicant from the film. If you ever went through a goth phase, your closet already holds the beginnings of this costume. Think black — a black dress, black boots, black choker, black eye makeup and a blond wig are all you need to pull this outfit together.\u003c/p>\n\u003cfigure id=\"attachment_13812931\" class=\"wp-caption alignnone\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13812931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg\" alt=\"\" width=\"430\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-240x318.jpg 240w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Tippi Hedren in The Birds (credit: Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. \u003ci>The Birds\u003c/i>\u003c/h3>\n\u003cp>No Halloween is complete without an ode to the master of suspense, Alfred Hitchcock. Give a nod to the Bay Area’s own Tippi Hedren this Halloween with a recreation of her iconic turn as Melanie Daniels in \u003cem>The Birds\u003c/em>. All that is required is a pencil skirt and jacket reminiscent of the 1960’s, her iconic french twist up-do and some bird seed to attract some needed accessories. Why bother with fake feathers in your hair when you can cause an even bigger stir by bringing the live birds with you?\u003c/p>\n\u003cfigure id=\"attachment_13812932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812932 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg\" alt=\"\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves in John Wick (credit: Lionsgate)\u003c/figcaption>\u003c/figure>\n\u003ch3>6. \u003ci>John Wick\u003c/i>\u003c/h3>\n\u003cp>Do you have a penchant for vengeance, but a soft spot for cuddly creatures? Look no further for movie inspiration than \u003cem>John Wick\u003c/em> by David Leitch and Chad Stahelski. The best part about this look is its simplicity: A well tailored suit, preferably all in black, and a puppy.\u003c/p>\n\u003cfigure id=\"attachment_13812933\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812933 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-520x312.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Malcom McDowell center in A Clockwork Orange (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>7. \u003ci>A Clockwork Orange\u003c/i>\u003c/h3>\n\u003cp>When it comes to movie-inspired costumes, you can’t go wrong with any character from the Stanley Kubrick collection. But we recommend taking a look at \u003cem>A Clockwork Orange\u003c/em> for some Halloween inspiration. Embrace Kubrick’s dystopian future and don the look of the “Droogs” gang with a bowler hat, suspenders, some dramatic eyelashes and a glass of milk because every growing guy or gal needs their calcium. \u003c/p>\n\u003cfigure id=\"attachment_13812934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louise and Lisa Burns as the Grady twins in The Shining (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>8. \u003ci>The Shining\u003c/i>\u003c/h3>\n\u003cp>Another Stanley Kubrick gem for Halloween inspiration is \u003cem>The Shining\u003c/em>. While the trending hipster, lumberjack-chic would make copying father-turned-possessed-murderer Jack a cinch, challenge yourself and go as the Grady twins. Don’t get hung up on the wardrobe details with this one. Any frilly, child-like dress with hair clip will do. They key is finding a twin to really make people do a double take. Whether or not you go for blood is up to you.\u003c/p>\n\u003cfigure id=\"attachment_13812935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812935\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Duplass in Creep (credit: Blumhouse Productions)\u003c/figcaption>\u003c/figure>\n\u003ch3>9. \u003ci>Creep\u003c/i>\u003c/h3>\n\u003cp>If you’re aiming for the prize of “most esoteric costume ever,” take on the role of Josef from \u003cem>Creep\u003c/em> by Patrick Brice. This modern cult horror film just stepped into the franchise arena with \u003cem>Creep 2\u003c/em> this year and it’s already garnering attention on the indie scene. Mark Duplass’s goofy, grinning villain keeps the costuming simple with a black zip-up jacket, dad jeans and a very well-maned werewolf mask. Add a few unsettling hip gyrations à la \u003ca href=\"https://www.youtube.com/watch?v=vWu_6Vlrzhg\" target=\"_blank\" rel=\"noopener\">the scene seen\u003c/a> around the world and people might not know who you are, but they won’t want to stand next to you. If you really want to go the extra mile, you can \u003ca href=\"https://www.youtube.com/watch?v=sAm8QoSyA6A\">learn the song\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13812936\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg\" alt=\"\" width=\"680\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-520x354.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Thora Birch in Ghost World (credit: United Artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>10. \u003ci>Ghost World\u003c/i>\u003c/h3>\n\u003cp>The 90’s are having a resurgence. My 20-something roommates listen to nothing but Green Day and Nirvana, and everyone has a wallet chain again. With that in mind, nothing says 90’s like Terry Zwigoff’s cult hit \u003cem>Ghost World,\u003c/em> which stars a young Thora Birch and Scarlett Johansson. Bust out the best in the bottom of your closet to recreate this iconic look. With a mini-skirt, comic t-shirt, combat boots and glasses, people might just think you’re on trend and not in costume. Be sure to make reference to your obscure vinyl collection repeatedly at any event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These costumes are totally doable, last minute get-ups. We’ve even done some ourselves!\u003c/p>\n\u003cfigure id=\"attachment_13812953\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812953 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_costumes-e1509139846840.jpg\" alt=\"\" width=\"600\" height=\"678\">\u003cfigcaption class=\"wp-caption-text\">Carly Severn as Pris and Julia Shackelford as Josef (credit: Zaldy Serrano and Anna Oh)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy haunting this Halloween season movie lovers!\u003c/p>\n\n","blocks":[],"excerpt":"The 'Film School Shorts' team provides 10 last-minute costume ideas inspired by the movies.","status":"publish","parent":0,"modified":1705029222,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1097},"headData":{"title":"10 Last Minute Movie-Inspired Costume Ideas for Halloween | KQED","description":"The 'Film School Shorts' team provides 10 last-minute costume ideas inspired by the movies.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Last Minute Movie-Inspired Costume Ideas for Halloween","datePublished":"2017-10-31T00:00:50.000Z","dateModified":"2024-01-12T03:13:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Julia Shackelford","path":"/arts/13812926/10-last-minute-movie-inspired-costume-ideas-for-halloween","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been left scrambling to assemble a Halloween costume in the eleventh hour, consider using your movie knowledge to help you dress to impress. The \u003ca href=\"https://www.facebook.com/FilmSchoolShorts\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> team has curated ten costumes inspired by cinema, ranging from blockbuster hits to the indie arcane, in the hopes of inspiring your Halloween look.\u003c/p>\n\u003cfigure id=\"attachment_13812927\" class=\"wp-caption alignnone\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812927 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg\" alt=\"\" width=\"620\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-520x218.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">A Ghost Story (credit: A24)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. \u003ci>A Ghost Story\u003c/i>\u003c/h3>\n\u003cp>Not one to fret the details? Invest in some extra bedding and recreate a time-honored Halloween staple — the bed sheet ghost. The iconic look was used this year in a meditation on grief called \u003ca href=\"https://ww2.kqed.org/arts/2017/07/14/grief-hangs-around-at-home-in-a-ghost-story/\">\u003cem>A Ghost Story\u003c/em>\u003c/a> by David Lowery. All you need is a pair of scissors and a California King white bed sheet. Besides being easy to make, it’s a costume that decorates itself — throughout your night of revelry, you’ll gather the requisite dust and grime to imply you’ve journeyed through the ages.\u003c/p>\n\u003cfigure id=\"attachment_13812928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812928 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Elgort in Baby Driver (credit: Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. \u003ci>Baby Driver\u003c/i>\u003c/h3>\n\u003cp>Ghouls not your thing? Seize on this year’s smash action flick \u003cem>Baby Driver\u003c/em> by Edgar Wright. Phlegmatic Baby’s look necessitates items that you might already have in your closet: a varsity bomber jacket, dark sunglasses, earbuds and an IDGAF attitude. And if you do plan on driving this Halloween, car insurance.\u003c/p>\n\u003cfigure id=\"attachment_13812929\" class=\"wp-caption alignnone\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg\" alt=\"\" width=\"780\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-520x297.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise in IT (credit: Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. \u003ci>IT\u003c/i>\u003c/h3>\n\u003cp>Do you prefer a costume meant to incite true terror? Then look no further than this year’s horror reboot of \u003cem>IT\u003c/em> by Andy Muschietti. Revive the terror induced by last year’s rash of \u003ca href=\"http://time.com/4518456/scary-clown-sighting-attack-craze/\" target=\"_blank\" rel=\"noopener\">creepy clown sightings\u003c/a> around the country as Stephen King’s monstrous clown creation, Pennywise. The key is not to get lost in the details. You’re sure to find a Halloween makeup kit at any drugstore. Then dig up a pair of baggy pajamas and pick up a red helium balloon on the way to the party, and you’re all set for giving your friends nightmares.\u003c/p>\n\u003cfigure id=\"attachment_13812930\" class=\"wp-caption alignnone\" style=\"max-width: 438px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812930 \" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/pris_blade_runner-e1509135850965.jpg\" alt=\"\" width=\"438\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Pris Stratton played by Daryl Hannah in Blade Runner (credit: Warner Bros Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. \u003ci>Blade Runner\u003c/i>\u003c/h3>\n\u003cp>Another reboot making a resurgence this fall is \u003cem>Blade Runner 2049\u003c/em>, but rather than chasing a trend, take a cue from the original 80’s classic \u003cem>Blade Runner\u003c/em> by Ridley Scott and replicate Pris Stratton – the “basic pleasure model” replicant from the film. If you ever went through a goth phase, your closet already holds the beginnings of this costume. Think black — a black dress, black boots, black choker, black eye makeup and a blond wig are all you need to pull this outfit together.\u003c/p>\n\u003cfigure id=\"attachment_13812931\" class=\"wp-caption alignnone\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13812931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg\" alt=\"\" width=\"430\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-240x318.jpg 240w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Tippi Hedren in The Birds (credit: Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. \u003ci>The Birds\u003c/i>\u003c/h3>\n\u003cp>No Halloween is complete without an ode to the master of suspense, Alfred Hitchcock. Give a nod to the Bay Area’s own Tippi Hedren this Halloween with a recreation of her iconic turn as Melanie Daniels in \u003cem>The Birds\u003c/em>. All that is required is a pencil skirt and jacket reminiscent of the 1960’s, her iconic french twist up-do and some bird seed to attract some needed accessories. Why bother with fake feathers in your hair when you can cause an even bigger stir by bringing the live birds with you?\u003c/p>\n\u003cfigure id=\"attachment_13812932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812932 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg\" alt=\"\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves in John Wick (credit: Lionsgate)\u003c/figcaption>\u003c/figure>\n\u003ch3>6. \u003ci>John Wick\u003c/i>\u003c/h3>\n\u003cp>Do you have a penchant for vengeance, but a soft spot for cuddly creatures? Look no further for movie inspiration than \u003cem>John Wick\u003c/em> by David Leitch and Chad Stahelski. The best part about this look is its simplicity: A well tailored suit, preferably all in black, and a puppy.\u003c/p>\n\u003cfigure id=\"attachment_13812933\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812933 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-520x312.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Malcom McDowell center in A Clockwork Orange (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>7. \u003ci>A Clockwork Orange\u003c/i>\u003c/h3>\n\u003cp>When it comes to movie-inspired costumes, you can’t go wrong with any character from the Stanley Kubrick collection. But we recommend taking a look at \u003cem>A Clockwork Orange\u003c/em> for some Halloween inspiration. Embrace Kubrick’s dystopian future and don the look of the “Droogs” gang with a bowler hat, suspenders, some dramatic eyelashes and a glass of milk because every growing guy or gal needs their calcium. \u003c/p>\n\u003cfigure id=\"attachment_13812934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louise and Lisa Burns as the Grady twins in The Shining (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>8. \u003ci>The Shining\u003c/i>\u003c/h3>\n\u003cp>Another Stanley Kubrick gem for Halloween inspiration is \u003cem>The Shining\u003c/em>. While the trending hipster, lumberjack-chic would make copying father-turned-possessed-murderer Jack a cinch, challenge yourself and go as the Grady twins. Don’t get hung up on the wardrobe details with this one. Any frilly, child-like dress with hair clip will do. They key is finding a twin to really make people do a double take. Whether or not you go for blood is up to you.\u003c/p>\n\u003cfigure id=\"attachment_13812935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812935\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Duplass in Creep (credit: Blumhouse Productions)\u003c/figcaption>\u003c/figure>\n\u003ch3>9. \u003ci>Creep\u003c/i>\u003c/h3>\n\u003cp>If you’re aiming for the prize of “most esoteric costume ever,” take on the role of Josef from \u003cem>Creep\u003c/em> by Patrick Brice. This modern cult horror film just stepped into the franchise arena with \u003cem>Creep 2\u003c/em> this year and it’s already garnering attention on the indie scene. Mark Duplass’s goofy, grinning villain keeps the costuming simple with a black zip-up jacket, dad jeans and a very well-maned werewolf mask. Add a few unsettling hip gyrations à la \u003ca href=\"https://www.youtube.com/watch?v=vWu_6Vlrzhg\" target=\"_blank\" rel=\"noopener\">the scene seen\u003c/a> around the world and people might not know who you are, but they won’t want to stand next to you. If you really want to go the extra mile, you can \u003ca href=\"https://www.youtube.com/watch?v=sAm8QoSyA6A\">learn the song\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13812936\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg\" alt=\"\" width=\"680\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-520x354.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Thora Birch in Ghost World (credit: United Artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>10. \u003ci>Ghost World\u003c/i>\u003c/h3>\n\u003cp>The 90’s are having a resurgence. My 20-something roommates listen to nothing but Green Day and Nirvana, and everyone has a wallet chain again. With that in mind, nothing says 90’s like Terry Zwigoff’s cult hit \u003cem>Ghost World,\u003c/em> which stars a young Thora Birch and Scarlett Johansson. Bust out the best in the bottom of your closet to recreate this iconic look. With a mini-skirt, comic t-shirt, combat boots and glasses, people might just think you’re on trend and not in costume. Be sure to make reference to your obscure vinyl collection repeatedly at any event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These costumes are totally doable, last minute get-ups. We’ve even done some ourselves!\u003c/p>\n\u003cfigure id=\"attachment_13812953\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812953 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_costumes-e1509139846840.jpg\" alt=\"\" width=\"600\" height=\"678\">\u003cfigcaption class=\"wp-caption-text\">Carly Severn as Pris and Julia Shackelford as Josef (credit: Zaldy Serrano and Anna Oh)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy haunting this Halloween season movie lovers!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812926/10-last-minute-movie-inspired-costume-ideas-for-halloween","authors":["byline_arts_13812926"],"programs":["arts_569"],"categories":["arts_74","arts_75"],"tags":["arts_1118","arts_977","arts_1206"],"featImg":"arts_13812949","label":"arts_569"},"arts_13807965":{"type":"posts","id":"arts_13807965","meta":{"index":"posts_1591205157","site":"arts","id":"13807965","score":null,"sort":[1504897242000]},"guestAuthors":[],"slug":"a-comedy-of-errors-family-ties-experimental-beats-what-to-watch-on-film-school-shorts","title":"Family Ties, Experimental Beats and a Comedy of Errors: What to Watch on ‘Film School Shorts’","publishDate":1504897242,"format":"standard","headTitle":"Family Ties, Experimental Beats and a Comedy of Errors: What to Watch on ‘Film School Shorts’ | KQED","labelTerm":{"term":569,"site":"arts"},"content":"\u003cp>\u003ci>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>\u003c/i> is back just in time to make your late-night Fridays a little less lonesome, with tales of all-too familiar family strife, beloved pets, 19th-century adventure and unrequited loves.\u003c/p>\n\u003cp>Season 5’s offerings excel at finding light moments even in the most painful situations — whether through humor, luscious visuals or unexpected connections. Tune in: the future of filmmaking is bright. \u003c/p>\n\u003cfigure id=\"attachment_13807968\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Groomed_640.jpg\" alt=\"Still from 'Groomed.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Groomed.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Groomed\u003c/i>\u003c/h3>\n\u003ch5>Episode 501: “First Gen 101”\u003cbr>\nAirs Friday, Sept. 8, 11pm\u003c/h5>\n\u003cp>The premiere episode of \u003ci>Film School Shorts\u003c/i> delves into some heady subjects — pernicious racism, immigrant family expectations, biracial relationships, where to buy a corsage — but the characters of \u003ci>Groomed\u003c/i> manage to use the myopia of discrimination to their advantage. When it appears a WASPy bride’s been jilted by her Mexican-American fiance (playing into all the Vermont wedding guests’ expectations), she and the groom’s devious godmother hatch a plan to give the crowd the ceremony they expect, so long as they don’t look too hard.\u003c/p>\n\u003cp>“\u003cem>Mira\u003c/em>, I worked in white homes for 40 years,” the godmother says. “All you need is the slightest doubt as to who is who and none of you will dare say a thing.” With some excellent physical comedy and just the right amount of flute, \u003ci>Groomed\u003c/i> skewers upper-crust society’s unwillingness to acknowledge its own intolerance in one unsteady trip down the aisle. \u003c/p>\n\u003cfigure id=\"attachment_13807971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Young_640.jpg\" alt=\"Still from 'When We Were Young.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘When We Were Young.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>When We Were Young\u003c/i>\u003c/h3>\n\u003ch5>Episode 503: “Coming Home”\u003cbr>\nAirs Friday, Sept. 22, 11pm\u003c/h5>\n\u003cp>Just a warning: This animated affirmation of intergenerational family love might make you cry. And if it doesn’t, there might be something wrong with your heart. Using the trope of home video footage, filmmaker Gabby Capili flashes between scenes of a childhood spent in the warm care of her grandmother with scenes from her young adulthood, their roles reversed. With soothing, poetic narration, \u003ci>When We Were Young\u003c/i> resembles Robert Munsch’s classic children’s book \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Love_You_Forever\" target=\"_blank\" rel=\"noopener\">Love You Forever\u003c/a>\u003c/i>, updated with a small army of grandchildren and a non-linear narrative. Moving back and forth through time, Capili contrasts colorful images of children running amok with grayscale renderings of her grandmother’s now-quiet home, cementing their bond with the line “We grow old, together.”\u003c/p>\n\u003cfigure id=\"attachment_13807967\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Execution_640.jpg\" alt=\"Still from 'The Execution.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Execution.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Execution\u003c/i>\u003c/h3>\n\u003ch5>Episode 504: “Pet Problems”\u003cbr>\nAirs Friday, Sept. 29, 11pm\u003c/h5>\n\u003cp>Anyone who’s spent time in a small town knows there’s a fine line between neighborliness and nosiness. Everybody’s up in everybody else’s business and everybody has an opinion about that business. \u003ci>The Execution\u003c/i> begins with its titular moment, leaving the audience to piece together the details of who — or what — was executed, and why. As the residents grapple with the unexpected aftermath of a necessary decision, Maxine, the bar owner who pulled the trigger, finds herself the target of recriminations from the very people who thanked her only days ago. But the limited supply of people — and bars — in this small town means feelings of guilt and sadness can be addressed directly, processed and put to rest, especially over a pint of beer. \u003c/p>\n\u003cfigure id=\"attachment_13807969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Nomalanga_640.jpg\" alt=\"Still from 'uNomalanga and the Witch.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘uNomalanga and the Witch.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>uNomalanga and the Witch\u003c/i>\u003c/h3>\n\u003ch5>Episode 510: “Bewitched”\u003cbr>\nAirs Friday, Nov. 10, 11pm\u003c/h5>\n\u003cp>Palesha Shongwe’s \u003ci>uNomalanga and the Witch\u003c/i> occupies the entire 10th episode of \u003ci>Film School Shorts\u003c/i> — and for good reason. If anything else had to play alongside this gorgeous South African short, it just wouldn’t be fair. Nomalanga is the wife of a schoolteacher, her days spent cleaning, cooking, reading the Bible and praying. Across the street from their new home lives a mysterious widow, Salome, who refuses Nomalanga’s religion but accepts her biscuits in exchange for hair-dressing appointments. As the two grow closer, Nomalanga becomes less reserved, arising the suspicion (and superstition) of both her husband and small community. A skillful meditation on friendship, loss and love, \u003ci>uNomalanga and the Witch\u003c/i> will have you on the lookout for anything and everything that comes next from Shongwe. \u003c/p>\n\u003cfigure id=\"attachment_13807970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ShadowBeat_640.jpg\" alt=\"Still from 'Shadow Beat.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-13807970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Shadow Beat.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Shadow Beat\u003c/i>\u003c/h3>\n\u003ch5>Episode 511: “Best of the Bay”\u003cbr>\nAirs Friday, Nov. 17, 11pm\u003c/h5>\n\u003cp>Half the fun of this season’s final episode is getting to see familiar Bay Area backdrops in student films. But my favorite of the bunch is pure abstraction, a black-and-white Super 8 film made by USF student Sarah Frei. Set to a soundtrack of jazzy drum rolls, checkered patterns zoom in and out, overlapping in prismatic effects. The whole thing is barely a minute long, but it’s a fitting reminder of the incredible local history of experimental film — and of what can be achieved with even the most basic elements of image and sound. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://youtu.be/0eg4mTSAUMM\u003c/p>\n\u003cp>\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\n","blocks":[],"excerpt":"Season 5 is back just in time to make your late night Fridays a little less lonesome.","status":"publish","parent":0,"modified":1705029580,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":866},"headData":{"title":"Family Ties, Experimental Beats and a Comedy of Errors: What to Watch on ‘Film School Shorts’ | KQED","description":"Season 5 is back just in time to make your late night Fridays a little less lonesome.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Family Ties, Experimental Beats and a Comedy of Errors: What to Watch on ‘Film School Shorts’","datePublished":"2017-09-08T19:00:42.000Z","dateModified":"2024-01-12T03:19:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807965/a-comedy-of-errors-family-ties-experimental-beats-what-to-watch-on-film-school-shorts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">Film School Shorts\u003c/a>\u003c/i> is back just in time to make your late-night Fridays a little less lonesome, with tales of all-too familiar family strife, beloved pets, 19th-century adventure and unrequited loves.\u003c/p>\n\u003cp>Season 5’s offerings excel at finding light moments even in the most painful situations — whether through humor, luscious visuals or unexpected connections. Tune in: the future of filmmaking is bright. \u003c/p>\n\u003cfigure id=\"attachment_13807968\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Groomed_640.jpg\" alt=\"Still from 'Groomed.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Groomed_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Groomed.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Groomed\u003c/i>\u003c/h3>\n\u003ch5>Episode 501: “First Gen 101”\u003cbr>\nAirs Friday, Sept. 8, 11pm\u003c/h5>\n\u003cp>The premiere episode of \u003ci>Film School Shorts\u003c/i> delves into some heady subjects — pernicious racism, immigrant family expectations, biracial relationships, where to buy a corsage — but the characters of \u003ci>Groomed\u003c/i> manage to use the myopia of discrimination to their advantage. When it appears a WASPy bride’s been jilted by her Mexican-American fiance (playing into all the Vermont wedding guests’ expectations), she and the groom’s devious godmother hatch a plan to give the crowd the ceremony they expect, so long as they don’t look too hard.\u003c/p>\n\u003cp>“\u003cem>Mira\u003c/em>, I worked in white homes for 40 years,” the godmother says. “All you need is the slightest doubt as to who is who and none of you will dare say a thing.” With some excellent physical comedy and just the right amount of flute, \u003ci>Groomed\u003c/i> skewers upper-crust society’s unwillingness to acknowledge its own intolerance in one unsteady trip down the aisle. \u003c/p>\n\u003cfigure id=\"attachment_13807971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Young_640.jpg\" alt=\"Still from 'When We Were Young.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Young_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘When We Were Young.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>When We Were Young\u003c/i>\u003c/h3>\n\u003ch5>Episode 503: “Coming Home”\u003cbr>\nAirs Friday, Sept. 22, 11pm\u003c/h5>\n\u003cp>Just a warning: This animated affirmation of intergenerational family love might make you cry. And if it doesn’t, there might be something wrong with your heart. Using the trope of home video footage, filmmaker Gabby Capili flashes between scenes of a childhood spent in the warm care of her grandmother with scenes from her young adulthood, their roles reversed. With soothing, poetic narration, \u003ci>When We Were Young\u003c/i> resembles Robert Munsch’s classic children’s book \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Love_You_Forever\" target=\"_blank\" rel=\"noopener\">Love You Forever\u003c/a>\u003c/i>, updated with a small army of grandchildren and a non-linear narrative. Moving back and forth through time, Capili contrasts colorful images of children running amok with grayscale renderings of her grandmother’s now-quiet home, cementing their bond with the line “We grow old, together.”\u003c/p>\n\u003cfigure id=\"attachment_13807967\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Execution_640.jpg\" alt=\"Still from 'The Execution.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Execution_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Execution.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Execution\u003c/i>\u003c/h3>\n\u003ch5>Episode 504: “Pet Problems”\u003cbr>\nAirs Friday, Sept. 29, 11pm\u003c/h5>\n\u003cp>Anyone who’s spent time in a small town knows there’s a fine line between neighborliness and nosiness. Everybody’s up in everybody else’s business and everybody has an opinion about that business. \u003ci>The Execution\u003c/i> begins with its titular moment, leaving the audience to piece together the details of who — or what — was executed, and why. As the residents grapple with the unexpected aftermath of a necessary decision, Maxine, the bar owner who pulled the trigger, finds herself the target of recriminations from the very people who thanked her only days ago. But the limited supply of people — and bars — in this small town means feelings of guilt and sadness can be addressed directly, processed and put to rest, especially over a pint of beer. \u003c/p>\n\u003cfigure id=\"attachment_13807969\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Nomalanga_640.jpg\" alt=\"Still from 'uNomalanga and the Witch.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-13807969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Nomalanga_640-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘uNomalanga and the Witch.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>uNomalanga and the Witch\u003c/i>\u003c/h3>\n\u003ch5>Episode 510: “Bewitched”\u003cbr>\nAirs Friday, Nov. 10, 11pm\u003c/h5>\n\u003cp>Palesha Shongwe’s \u003ci>uNomalanga and the Witch\u003c/i> occupies the entire 10th episode of \u003ci>Film School Shorts\u003c/i> — and for good reason. If anything else had to play alongside this gorgeous South African short, it just wouldn’t be fair. Nomalanga is the wife of a schoolteacher, her days spent cleaning, cooking, reading the Bible and praying. Across the street from their new home lives a mysterious widow, Salome, who refuses Nomalanga’s religion but accepts her biscuits in exchange for hair-dressing appointments. As the two grow closer, Nomalanga becomes less reserved, arising the suspicion (and superstition) of both her husband and small community. A skillful meditation on friendship, loss and love, \u003ci>uNomalanga and the Witch\u003c/i> will have you on the lookout for anything and everything that comes next from Shongwe. \u003c/p>\n\u003cfigure id=\"attachment_13807970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ShadowBeat_640.jpg\" alt=\"Still from 'Shadow Beat.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-13807970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ShadowBeat_640-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Shadow Beat.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Shadow Beat\u003c/i>\u003c/h3>\n\u003ch5>Episode 511: “Best of the Bay”\u003cbr>\nAirs Friday, Nov. 17, 11pm\u003c/h5>\n\u003cp>Half the fun of this season’s final episode is getting to see familiar Bay Area backdrops in student films. But my favorite of the bunch is pure abstraction, a black-and-white Super 8 film made by USF student Sarah Frei. Set to a soundtrack of jazzy drum rolls, checkered patterns zoom in and out, overlapping in prismatic effects. The whole thing is barely a minute long, but it’s a fitting reminder of the incredible local history of experimental film — and of what can be achieved with even the most basic elements of image and sound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0eg4mTSAUMM'\n title='//www.youtube.com/embed/0eg4mTSAUMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807965/a-comedy-of-errors-family-ties-experimental-beats-what-to-watch-on-film-school-shorts","authors":["61"],"programs":["arts_569"],"categories":["arts_74"],"tags":["arts_1118","arts_977","arts_1006","arts_596"],"featImg":"arts_13807966","label":"arts_569"},"arts_12832303":{"type":"posts","id":"arts_12832303","meta":{"index":"posts_1591205157","site":"arts","id":"12832303","score":null,"sort":[1488384042000]},"guestAuthors":[],"slug":"glas-festival-celebrates-animation-made-without-pixar-level-budgets","title":"GLAS Festival Celebrates Animation Made Without Pixar-Level Budgets","publishDate":1488384042,"format":"image","headTitle":"GLAS Festival Celebrates Animation Made Without Pixar-Level Budgets | KQED","labelTerm":{"term":569,"site":"arts"},"content":"\u003cp>For every Academy Award winner developing the next Pixar hit, there is someone toiling away in a basement, working on something that will probably never play in theaters before a \u003cem>Finding Nemo\u003c/em> sequel. But that’s exactly the kind of film Jeanette Bonds and Sean Buckelew want for the \u003ca href=\"http://www.glasanimation.com/\" target=\"_blank\" rel=\"noopener\">GLAS Animation Festival\u003c/a>. \u003c/p>\n\u003cp>While there are plenty of established animation-specific festivals in Europe, Japan, and elsewhere, there are only a handful in the United States, and nothing quite like GLAS. So Bonds helped start the event in 2016, creating a space specifically for independent animators, with Buckelew as lead programmer. Now in its second year, the festival hosts screenings, panels, and more at venues across Berkeley from March 2–5, with a schedule that includes an international mix of films and directors. \u003c/p>\n\u003cp>Both Bonds and Buckelew are graduates of CalArts’ experimental animation program. Before GLAS, Bonds worked as a programmer and screener for events like Slamdance and the Los Angeles Film Festival, while Buckelew created the animated sequences in \u003cem>We are Your Friends\u003c/em> and \u003cem>He Named Me Malala\u003c/em> (and is featured in \u003ca href=\"https://vimeo.com/170070171/9a7d5161c2\" target=\"_blank\" rel=\"noopener\">Season 4 of KQED’s Film School Shorts\u003c/a>). They’re also members of Late Night Work Club, a cohort of indie animators. (The collective has two screenings at GLAS this year, which Bonds and Buckelew highly recommend.)\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/203754807\u003cbr>\n\u003c/aside>\n\u003cp>But GLAS isn’t a festival designed exclusively for a cliquish audience of indie animators. “I think there are curators who are more formal, but Jeanette and I are just into movies,” Buckelew says. “I would show my parents all this stuff and hope they get excited. It’s almost pitching to that level — I like audiences to really enjoy screenings.”\u003c/p>\n\u003cp>The festival has also managed to snag some of the most familiar names in mainstream animation. Last year’s guest of honor was Henry Selick, director of \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Coraline\u003c/em>, while this year features Brad Bird, who made \u003cem>The Iron Giant\u003c/em>, \u003cem>The Incredibles\u003c/em>, and even \u003cem>Mission Impossible: Ghost Protocol\u003c/em>, all of which screen at the fest. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[Bird] is one of the few directors who’s worked in both live action and animation,” Bonds points out. “That’s rare and important and exciting.” \u003c/p>\n\u003cp>While Buckelew is a Berkeley native, neither he nor Bonds live in the Bay Area. As a matter of fact, they’re both based in Los Angeles. So why not host the festival in Hollywood?\u003c/p>\n\u003cp>“L.A. is a 24/7 film festival, and you’re constantly competing with a Robert de Niro thing for 10 bucks somewhere, and most people aren’t even going to that,” Bond says. \u003c/p>\n\u003cfigure id=\"attachment_12832522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg\" alt=\"Scene from 'Deer Flower'\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12832522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘Deer Flower.’ \u003ccite>(Courtesy of GLAS Animation Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley had everything Bonds wanted: multiple theaters within walking distance of each other, hotels and restaurants, and, most importantly, a community that was excited to support a brand new festival. \u003c/p>\n\u003cp>“A lot of other cities didn’t really have that,” Bonds says. \u003c/p>\n\u003cp>And in just two short years, GLAS has managed to attract an audience of animators and fans from across the country and around the world to the East Bay, while still managing to be accessible to a local crowd. \u003c/p>\n\u003cp>“No matter who you are, there’s one or two films you’ll go home and Google and see if they’re online so you can send them to a friend,” Buckelew says. \u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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\n","blocks":[],"excerpt":"In its second year, the GLAS Animation Festival brings animators to Berkeley from all over the country.","status":"publish","parent":0,"modified":1705031386,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":597},"headData":{"title":"GLAS Festival Celebrates Animation Made Without Pixar-Level Budgets | KQED","description":"In its second year, the GLAS Animation Festival brings animators to Berkeley from all over the country.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"GLAS Festival Celebrates Animation Made Without Pixar-Level Budgets","datePublished":"2017-03-01T16:00:42.000Z","dateModified":"2024-01-12T03:49:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12832303/glas-festival-celebrates-animation-made-without-pixar-level-budgets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For every Academy Award winner developing the next Pixar hit, there is someone toiling away in a basement, working on something that will probably never play in theaters before a \u003cem>Finding Nemo\u003c/em> sequel. But that’s exactly the kind of film Jeanette Bonds and Sean Buckelew want for the \u003ca href=\"http://www.glasanimation.com/\" target=\"_blank\" rel=\"noopener\">GLAS Animation Festival\u003c/a>. \u003c/p>\n\u003cp>While there are plenty of established animation-specific festivals in Europe, Japan, and elsewhere, there are only a handful in the United States, and nothing quite like GLAS. So Bonds helped start the event in 2016, creating a space specifically for independent animators, with Buckelew as lead programmer. Now in its second year, the festival hosts screenings, panels, and more at venues across Berkeley from March 2–5, with a schedule that includes an international mix of films and directors. \u003c/p>\n\u003cp>Both Bonds and Buckelew are graduates of CalArts’ experimental animation program. Before GLAS, Bonds worked as a programmer and screener for events like Slamdance and the Los Angeles Film Festival, while Buckelew created the animated sequences in \u003cem>We are Your Friends\u003c/em> and \u003cem>He Named Me Malala\u003c/em> (and is featured in \u003ca href=\"https://vimeo.com/170070171/9a7d5161c2\" target=\"_blank\" rel=\"noopener\">Season 4 of KQED’s Film School Shorts\u003c/a>). They’re also members of Late Night Work Club, a cohort of indie animators. (The collective has two screenings at GLAS this year, which Bonds and Buckelew highly recommend.)\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/203754807\u003cbr>\n\u003c/aside>\n\u003cp>But GLAS isn’t a festival designed exclusively for a cliquish audience of indie animators. “I think there are curators who are more formal, but Jeanette and I are just into movies,” Buckelew says. “I would show my parents all this stuff and hope they get excited. It’s almost pitching to that level — I like audiences to really enjoy screenings.”\u003c/p>\n\u003cp>The festival has also managed to snag some of the most familiar names in mainstream animation. Last year’s guest of honor was Henry Selick, director of \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Coraline\u003c/em>, while this year features Brad Bird, who made \u003cem>The Iron Giant\u003c/em>, \u003cem>The Incredibles\u003c/em>, and even \u003cem>Mission Impossible: Ghost Protocol\u003c/em>, all of which screen at the fest. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[Bird] is one of the few directors who’s worked in both live action and animation,” Bonds points out. “That’s rare and important and exciting.” \u003c/p>\n\u003cp>While Buckelew is a Berkeley native, neither he nor Bonds live in the Bay Area. As a matter of fact, they’re both based in Los Angeles. So why not host the festival in Hollywood?\u003c/p>\n\u003cp>“L.A. is a 24/7 film festival, and you’re constantly competing with a Robert de Niro thing for 10 bucks somewhere, and most people aren’t even going to that,” Bond says. \u003c/p>\n\u003cfigure id=\"attachment_12832522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg\" alt=\"Scene from 'Deer Flower'\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12832522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘Deer Flower.’ \u003ccite>(Courtesy of GLAS Animation Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley had everything Bonds wanted: multiple theaters within walking distance of each other, hotels and restaurants, and, most importantly, a community that was excited to support a brand new festival. \u003c/p>\n\u003cp>“A lot of other cities didn’t really have that,” Bonds says. \u003c/p>\n\u003cp>And in just two short years, GLAS has managed to attract an audience of animators and fans from across the country and around the world to the East Bay, while still managing to be accessible to a local crowd. \u003c/p>\n\u003cp>“No matter who you are, there’s one or two films you’ll go home and Google and see if they’re online so you can send them to a friend,” Buckelew says. \u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12832303/glas-festival-celebrates-animation-made-without-pixar-level-budgets","authors":["8644"],"programs":["arts_569"],"categories":["arts_74"],"tags":["arts_1119","arts_1118","arts_1201","arts_596"],"featImg":"arts_12832513","label":"arts_569"},"arts_12767491":{"type":"posts","id":"arts_12767491","meta":{"index":"posts_1591205157","site":"arts","id":"12767491","score":null,"sort":[1487106780000]},"guestAuthors":[],"slug":"director-simon-saveylev-on-his-cynical-rom-com-googly-eyes","title":"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’","publishDate":1487106780,"format":"standard","headTitle":"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’ | KQED","labelTerm":{},"content":"\u003cp>Simon Savelyev’s \u003cem>Googly Eyes\u003c/em> is the perfect cynical romantic comedy for Valentine’s Day. Or, really, any day of the year. Starring \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm1640173/\" rel=\"noopener\">Cooper Barnes\u003c/a> as Gary (Nickelodeon’s \u003cem>Henry Danger\u003c/em>) and \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm3189010/?ref_=tt_cl_t2\" rel=\"noopener\">Laura Spencer\u003c/a> as Suzy (\u003cem>The Big Bang Theory\u003c/em>), this wry short follows a newly broken-up couple as they try \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" title=\"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Simon Savelyev's \u003cem>Googly Eyes\u003c/em> is the perfect cynical romantic comedy for Valentine's Day. Or, really, any day of the year. ","status":"publish","parent":0,"modified":1705031556,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":65},"headData":{"title":"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’ | KQED","description":"Simon Savelyev's Googly Eyes is the perfect cynical romantic comedy for Valentine's Day. Or, really, any day of the year. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’","datePublished":"2017-02-14T21:13:00.000Z","dateModified":"2024-01-12T03:52:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"rssmiSourceLink":"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/","sticky":false,"path":"/arts/12767491/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Simon Savelyev’s \u003cem>Googly Eyes\u003c/em> is the perfect cynical romantic comedy for Valentine’s Day. Or, really, any day of the year. Starring \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm1640173/\" rel=\"noopener\">Cooper Barnes\u003c/a> as Gary (Nickelodeon’s \u003cem>Henry Danger\u003c/em>) and \u003ca target=\"_blank\" href=\"http://www.imdb.com/name/nm3189010/?ref_=tt_cl_t2\" rel=\"noopener\">Laura Spencer\u003c/a> as Suzy (\u003cem>The Big Bang Theory\u003c/em>), this wry short follows a newly broken-up couple as they try \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/14/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes/\" target=\"_blank\" title=\"Director Simon Saveylev on his Cynical Rom-Com ‘Googly Eyes’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12767491/director-simon-saveylev-on-his-cynical-rom-com-googly-eyes","authors":["8652"],"programs":["arts_569"],"categories":["arts_74"],"featImg":"arts_12767492","label":"arts"},"arts_12673222":{"type":"posts","id":"arts_12673222","meta":{"index":"posts_1591205157","site":"arts","id":"12673222","score":null,"sort":[1485360007000]},"guestAuthors":[],"slug":"meet-ari-gold-the-director-from-san-francisco-making-his-own-path","title":"Meet Ari Gold, the Director from San Francisco Making His Own Path","publishDate":1485360007,"format":"standard","headTitle":"Meet Ari Gold, the Director from San Francisco Making His Own Path | KQED","labelTerm":{"term":569,"site":"arts"},"content":"\u003cp>Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. His goofy 2008 feature \u003ca href=\"http://www.adventuresofpower.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Adventures of Power\u003c/em>\u003c/a> is set in New Mexico and New Jersey, while his short \u003cem>\u003ca href=\"https://vimeo.com/170525079\" target=\"_blank\" rel=\"noopener\">Culture\u003c/a>\u003c/em> was filmed in a New York City studio. And even though Gold’s Student Academy Award-winner \u003cem>Helicopter\u003c/em> has scenes set in the city, the streetscapes are really just fabrications, built with toy Victorians on a train set model. \u003c/p>\n\u003cp>Though his career has taken shape in New York and Los Angeles, Gold still has notable familial roots in Northern California. Twin brother Ethan is a local musician, and his father Herbert is a well-known Beat novelist. Gold’s mother Melissa is well-known too, but not for the happiest of reasons: in 1991, she and the music promoter Bill Graham — her boyfriend at the time — perished in a helicopter crash near Vallejo. \u003c/p>\n\u003cp>Melissa’s tragic death inspired \u003cem>Helicopter\u003c/em>, a frenetic hybrid of documentary, animation, and fiction. It’s remarkably different from the traditional narratives that usually come out of NYU’s film school. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DAk0ep76WEg\u003c/p>\n\u003cp>“I have to do everything according to how it feels emotionally,” Gold says of his approach to directing, which includes both traditional and non-traditional styles of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, his professors at NYU thought differently. So in order to make \u003cem>Helicopter\u003c/em>, Gold had to disregard much of their advice, and his only guide was an editing teacher who understood the overall vision. While this maverick approach eventually paid off for Gold, he doesn’t recommend it for every student. \u003c/p>\n\u003cp>“It’s hard to say ‘ignore your teachers,’ because I think you can learn a lot from a teacher and you can learn a lot from their pushback,” he says. “If you’re going to break narrative rules and find yourselves at odds with your school, you better know why. You better not just be because you don’t like following instructions.”\u003c/p>\n\u003cp>In fact, Gold is perfectly comfortable obeying instructions — especially when he’s the one who’s written them. \u003cem>Culture\u003c/em>, produced at NYU and part of Film School Shorts’ fourth season, is a minute-long experiment that follows the 10 rules “set forth in dogma [of] Ari Gold Films.” Though completed just before 2000, the short is surprisingly timeless. While Gold says he wouldn’t change anything about his “suicidal glorification of violence,” he thinks the audience’s interpretation of \u003cem>Culture\u003c/em> has evolved over the last two decades. \u003c/p>\n\u003caside class=\"aligncenter nobrder\">\nhttps://vimeo.com/170525079\u003cbr>\n\u003c/aside>\n\u003cp>“It becomes less and less shocking with each passing year, and in that sense, maybe it shows its age,” he says. When it first screened at Sundance and SXSW back in 1999, “it felt like a slap in the face in the right way, like a wake-up slap,” Gold says. “Now, I think with the insanity of stuff that’s even produced just on YouTube, it might not have the same effect.”\u003c/p>\n\u003cp>Gold has been busy lately completing his second feature, \u003cem>Song of Sway Lake\u003c/em>, plus a novel, a film installation, and more. He’s currently scouting locations for his third original film, and he has plans to re-envision \u003cem>Helicopter\u003c/em> with three to five new shorts. Each will refract off of the original and will follow a new set of rules, this time authored by Gold’s mentor, Alejandro Jodorowsky, director of \u003ci>The Holy Mountain\u003c/i> and \u003ci>El Topo\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only this time, Gold will actually shoot in San Francisco. \u003c/p>\n\n","blocks":[],"excerpt":"Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. ","status":"publish","parent":0,"modified":1705031785,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":619},"headData":{"title":"Meet Ari Gold, the Director from San Francisco Making His Own Path | KQED","description":"Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet Ari Gold, the Director from San Francisco Making His Own Path","datePublished":"2017-01-25T16:00:07.000Z","dateModified":"2024-01-12T03:56:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12673222/meet-ari-gold-the-director-from-san-francisco-making-his-own-path","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. His goofy 2008 feature \u003ca href=\"http://www.adventuresofpower.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Adventures of Power\u003c/em>\u003c/a> is set in New Mexico and New Jersey, while his short \u003cem>\u003ca href=\"https://vimeo.com/170525079\" target=\"_blank\" rel=\"noopener\">Culture\u003c/a>\u003c/em> was filmed in a New York City studio. And even though Gold’s Student Academy Award-winner \u003cem>Helicopter\u003c/em> has scenes set in the city, the streetscapes are really just fabrications, built with toy Victorians on a train set model. \u003c/p>\n\u003cp>Though his career has taken shape in New York and Los Angeles, Gold still has notable familial roots in Northern California. Twin brother Ethan is a local musician, and his father Herbert is a well-known Beat novelist. Gold’s mother Melissa is well-known too, but not for the happiest of reasons: in 1991, she and the music promoter Bill Graham — her boyfriend at the time — perished in a helicopter crash near Vallejo. \u003c/p>\n\u003cp>Melissa’s tragic death inspired \u003cem>Helicopter\u003c/em>, a frenetic hybrid of documentary, animation, and fiction. It’s remarkably different from the traditional narratives that usually come out of NYU’s film school. \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/DAk0ep76WEg'\n title='//www.youtube.com/embed/DAk0ep76WEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I have to do everything according to how it feels emotionally,” Gold says of his approach to directing, which includes both traditional and non-traditional styles of filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, his professors at NYU thought differently. So in order to make \u003cem>Helicopter\u003c/em>, Gold had to disregard much of their advice, and his only guide was an editing teacher who understood the overall vision. While this maverick approach eventually paid off for Gold, he doesn’t recommend it for every student. \u003c/p>\n\u003cp>“It’s hard to say ‘ignore your teachers,’ because I think you can learn a lot from a teacher and you can learn a lot from their pushback,” he says. “If you’re going to break narrative rules and find yourselves at odds with your school, you better know why. You better not just be because you don’t like following instructions.”\u003c/p>\n\u003cp>In fact, Gold is perfectly comfortable obeying instructions — especially when he’s the one who’s written them. \u003cem>Culture\u003c/em>, produced at NYU and part of Film School Shorts’ fourth season, is a minute-long experiment that follows the 10 rules “set forth in dogma [of] Ari Gold Films.” Though completed just before 2000, the short is surprisingly timeless. While Gold says he wouldn’t change anything about his “suicidal glorification of violence,” he thinks the audience’s interpretation of \u003cem>Culture\u003c/em> has evolved over the last two decades. \u003c/p>\n\u003caside class=\"aligncenter nobrder\">\nhttps://vimeo.com/170525079\u003cbr>\n\u003c/aside>\n\u003cp>“It becomes less and less shocking with each passing year, and in that sense, maybe it shows its age,” he says. When it first screened at Sundance and SXSW back in 1999, “it felt like a slap in the face in the right way, like a wake-up slap,” Gold says. “Now, I think with the insanity of stuff that’s even produced just on YouTube, it might not have the same effect.”\u003c/p>\n\u003cp>Gold has been busy lately completing his second feature, \u003cem>Song of Sway Lake\u003c/em>, plus a novel, a film installation, and more. He’s currently scouting locations for his third original film, and he has plans to re-envision \u003cem>Helicopter\u003c/em> with three to five new shorts. Each will refract off of the original and will follow a new set of rules, this time authored by Gold’s mentor, Alejandro Jodorowsky, director of \u003ci>The Holy Mountain\u003c/i> and \u003ci>El Topo\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only this time, Gold will actually shoot in San Francisco. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12673222/meet-ari-gold-the-director-from-san-francisco-making-his-own-path","authors":["8644"],"programs":["arts_569"],"categories":["arts_74"],"tags":["arts_1118","arts_596","arts_989"],"featImg":"arts_12673411","label":"arts_569"},"arts_12574892":{"type":"posts","id":"arts_12574892","meta":{"index":"posts_1591205157","site":"arts","id":"12574892","score":null,"sort":[1483435773000]},"guestAuthors":[],"slug":"behind-the-camera-with-benjamin-rutkowski-director-of-glory-days","title":"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’","publishDate":1483435773,"format":"standard","headTitle":"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’ | KQED","labelTerm":{},"content":"\u003cp>Behind every great director is a great cinematographer. In the case of \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/glory-days/\" rel=\"noopener\">Glory Days\u003c/a>\u003c/em>, the latest online release from \u003cem>Film School Shorts\u003c/em> and one of Season 4’s most poignant films, the director, \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/benjamin-rutkowski/\" rel=\"noopener\">Benjamin Rutkowski\u003c/a>, is also the cinematographer.\u003c/p>\n\u003cdiv>\n\u003cp>Benjamin Rutkowski on the ‘Glory Days’ set.\u003c/p>\n\u003c/div>\n\u003cp>Since graduating from NYU’s MFA \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" title=\"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"\u003cp>Behind every great director is a great cinematographer. In the case of \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/glory-days/\" rel=\"noopener\">Glory Days\u003c/a>\u003c/em>, the latest online release from \u003cem>Film School Shorts\u003c/em> and one of Season 4's most poignant films, the director, \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/benjamin-rutkowski/\" rel=\"noopener\">Benjamin Rutkowski\u003c/a>, is also the cinematographer.\u003c/p>\n\u003cdiv>\u003cp>Benjamin Rutkowski on the ‘Glory Days' set.\u003c/p>\u003c/div>\n\u003cp>Since graduating from NYU's MFA \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>","status":"publish","parent":0,"modified":1705032020,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":66},"headData":{"title":"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’ | KQED","description":"Behind every great director is a great cinematographer. In the case of Glory Days, the latest online release from Film School Shorts and one of Season 4's most poignant films, the director, Benjamin Rutkowski, is also the cinematographer.\nBenjamin Rutkowski on the ‘Glory Days' set.\nSince graduating from NYU's MFA ...read more","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’","datePublished":"2017-01-03T09:29:33.000Z","dateModified":"2024-01-12T04:00:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"rssmiSourceLink":"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/","sticky":false,"path":"/arts/12574892/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind every great director is a great cinematographer. In the case of \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/glory-days/\" rel=\"noopener\">Glory Days\u003c/a>\u003c/em>, the latest online release from \u003cem>Film School Shorts\u003c/em> and one of Season 4’s most poignant films, the director, \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/benjamin-rutkowski/\" rel=\"noopener\">Benjamin Rutkowski\u003c/a>, is also the cinematographer.\u003c/p>\n\u003cdiv>\n\u003cp>Benjamin Rutkowski on the ‘Glory Days’ set.\u003c/p>\n\u003c/div>\n\u003cp>Since graduating from NYU’s MFA \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" title=\"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12574892/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days","authors":["8652"],"programs":["arts_569"],"categories":["arts_74"],"featImg":"arts_12574893","label":"arts"},"arts_12513759":{"type":"posts","id":"arts_12513759","meta":{"index":"posts_1591205157","site":"arts","id":"12513759","score":null,"sort":[1482368414000]},"guestAuthors":[],"slug":"director-imran-khan-discusses-going-from-viral-videos-to-serious-shorts","title":"Director Imran Khan Talks About Going from Viral Videos to Serious Shorts","publishDate":1482368414,"format":"standard","headTitle":"Director Imran Khan Talks About Going from Viral Videos to Serious Shorts | KQED","labelTerm":{"term":569,"site":"arts"},"content":"\u003cp>Like many young directors, Imran J. Khan has the internet to thank for his film career. The Pakistani-American director grew up in Silicon Valley and studied biological systems engineering at UC Davis — but on the side, he kept up a YouTube page of funny videos about the Muslim-American experience. Some even went viral.\u003c/p>\n\u003cp>After spending a few “glamorous” years making medical devices for a living, Khan decided to get serious about his hobby and left his job for film school. While a student at NYU’s Tisch Asia program in Singapore, he directed, co-wrote, and starred in \u003cem>Timmy II\u003c/em>, a comedy about “the hyphenated American experience.” (And robots.) It screened locally at Cinequest in 2015.\u003c/p>\n\u003cp>Since finishing up his MFA earlier this year, Khan is now based in Los Angeles, where he’s working on a feature script while submitting two new shorts to festivals. \u003cem>The Drone and the Kid\u003c/em>, shot on location in Lahore, Pakistan, is about a young boy who forms a friendship with a stray drone, while Prom follows a South Asian-American teen who defies his strict father to pick up his date to the dance, only to be disappointed.\u003c/p>\n\u003cp>Khan spoke to Film School Shorts about auditioning children in Pakistan, moving between comedy and drama, and sharing different perspectives on screen.\u003c/p>\n\u003cfigure id=\"attachment_12516409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12516409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Imran-Khan-800x533.jpg\" alt=\"Imran Khan directing 'Prom'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imran Khan directing ‘Prom’ \u003ccite>(Courtesy of Imran Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nIs \u003cem>The Drone and the Kid\u003c/em> your first non-Tisch Asia production? If so, what was it like to be on your own for the first time?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I made \u003cem>The Drone and the Kid \u003c/em>originally intending for it to be an NYU film, but because of complications in NYU’s insurance process, it ended up becoming a personal project of mine instead.\u003c/p>\n\u003cp>It was really difficult because I went to Pakistan alone without any collaborators from school, so in a way it was a taste of what life after film school might be like. I also didn’t know very many people in Lahore. My parents are both from Karachi, so I didn’t have a family support system there or anything like that. It felt like walking off a plane in a foreign country and somehow getting a crew together, from scratch, and shooting a film. I didn’t even have a DP lined up before arriving in Pakistan.\u003c/p>\n\u003cp>I was also running a Kickstarter campaign to fund the film while I was in pre-production, so I was essentially producing it myself as well. It was a lot to handle, but I learned so much and I grew a lot during that time. I pushed myself as a filmmaker. In the end, I’m happy I took the risk and just went for it.\u003c/p>\n\u003cp>\u003cstrong>What was it like shooting \u003cem>The Drone and the Kid\u003c/em> in Pakistan? Did you learn anything from shooting \u003cem>Timmy II\u003c/em> that helped you with the process? \u003c/strong>\u003c/p>\n\u003cp>It was really an amazing experience, but if I’m honest, it was the hardest film I’ve ever made. It was a tough shoot, but I had a good crew, including the very talented Haider Zafar as cinematographer.\u003c/p>\n\u003cp>Weirdly enough, I actually shot this film a few months before \u003cem>Timmy II\u003c/em>, but it took about two years to finish the post-production work, so it’s only now starting to play at festivals. So in a way, I got to make mistakes on \u003cem>The Drone and the Kid\u003c/em> and learn from them before I made \u003cem>Timmy II\u003c/em>.\u003c/p>\n\u003cp>When you’re on location in difficult places, it feels really nice to be able to shoot an entire short film on a sound stage! I think I was a bit burned out from \u003cem>The Drone and the Kid\u003c/em> and just wanted to make something with no expectations to live up to. The Drone and the Kid has this really big premise and I felt the weight of it during production; it was difficult for that reason.\u003c/p>\n\u003cfigure id=\"attachment_12516413\" class=\"wp-caption aligncenter\" style=\"max-width: 777px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12516413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Usair-Drone.jpg\" alt=\"Uzair Ali preparing for a scene in which he’s eating dinner with his character’s brother\" width=\"777\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-520x345.jpg 520w\" sizes=\"(max-width: 777px) 100vw, 777px\">\u003cfigcaption class=\"wp-caption-text\">Uzair Ali preparing for a scene in which he’s eating dinner with his character’s brother \u003ccite>(Courtesy of Imran Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you cast Uzair, the young star of this short?\u003c/strong>\u003c/p>\n\u003cp>I had a great producer in Lahore who helped me cast the film. I auditioned nearly 30 local kids. Some of them were actors already but most had no experience. I found Uzair Ali through that process. He had already acted in Pakistani television shows, so he had a lot of experience for someone so young. He quickly became the front-runner during casting and it was a really great experience working with him. He added a lot to the film.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat inspired \u003cem>Prom\u003c/em>? Is it based on something that really happened to you, your co-writer, or someone else you knew?\u003c/strong>\u003c/p>\n\u003cp>Yes, it’s actually something that happened to my friend Hasan Minhaj, who is a talented comedian and actor. He told the story as part of a segment on the \u003cem>Moth Radio Hour\u003c/em> — it’s actually part of a larger one-man show of Hasan’s called \u003cem>Homecoming King\u003c/em> — and I approached him to adapt the story into a short film as my thesis for NYU. I connected with the story and thought it was really powerful.\u003c/p>\n\u003cp>As a filmmaker, it was challenging to adapt something that really happened. On the one hand, you’re trying to make a story function as a short film, and on the other hand you’re trying to stay true to the source material. I think balancing the two can sometimes be more difficult than working with an original concept. I had the pleasure of working with a very talented writer, Prashanth Venkataramanujam, to write the script. I’m really happy with how it turned out.\u003c/p>\n\u003cp>For me, I think it sort of functions beyond the literal and veers into something of a parable. What I mean is: To me the film is more of a metaphor. It can be interpreted to be a specific event as a stand in for the broader sentiment of being a minority in America.\u003c/p>\n\u003cfigure id=\"attachment_12516414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12516414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Prom-Still3-800x533.jpg\" alt=\"Jonah Aimz starring in 'Prom'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonah Aimz starring in ‘Prom’ \u003ccite>(Courtesy of Imran Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Prom\u003c/em> and, to a lesser extent, \u003cem>The Drone and the Kid\u003c/em>, are both much more serious than \u003cem>Timmy II\u003c/em> and your old YouTube videos. Why did you start moving into drama?\u003c/strong>\u003c/p>\n\u003cp>I really wanted to flex different muscles as a filmmaker and broaden my skill set. I think making dramatic films helped me understand comedy better.\u003c/p>\n\u003cp>My next project is a comedy and I feel really good about that because I can take what I’ve learned over the last few films and create a more complex aesthetic around the comedy. Generally, I feel more in control of my material now than before I attempted to do drama. When you do a realistic drama, like Prom, you have nothing to rely on except truthful performances. You can’t rely on stylization or anything that distracts from the subject material, so it really forces you strengthen your core skills as a director.\u003c/p>\n\u003cp>\u003cstrong>Diversity in filmmaking is a major issue these days, and all three of your shorts give the audience a glimpse of experiences they might not otherwise get to see. As you continue to write and direct, do you think you’ll continue to make work like this?\u003c/strong>\u003c/p>\n\u003cp>You know, it’s really hard to make a good film. I think I’m trying to just make good work that people want to watch. It just so happens that I’m a person from a specific background and cultural perspective, so when I attempt to make a good film, I often start with subjects that I have a connection to or experience with. As they say, “Write what you know”.\u003c/p>\n\u003cp>That being said, I do think it’s an important for there to be more representation of minorities in the film industry. I think it makes a really big difference to have minority writers, directors, and producers who can tell stories about their experiences for the reason you mentioned. It shows people a perspective that they wouldn’t normally see and I think that’s really important especially after the election.\u003c/p>\n\u003cp>Now that I think about it, I think if I were making \u003cem>Timmy II\u003c/em> now, I could replace the 9/11 scene with a scene where the presidential election results are revealed and the rest of the film would kind of go on as it is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch \u003cem>Timmy II\u003c/em>:\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/170535953/\u003cbr>\n\u003c/aside>\n\n","blocks":[],"excerpt":"Khan spoke to Film School Shorts about auditioning children in Pakistan for a short about a drone, moving between comedy and drama, and sharing different perspectives on screen.","status":"publish","parent":0,"modified":1705032092,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1452},"headData":{"title":"Director Imran Khan Talks About Going from Viral Videos to Serious Shorts | KQED","description":"Khan spoke to Film School Shorts about auditioning children in Pakistan for a short about a drone, moving between comedy and drama, and sharing different perspectives on screen.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Director Imran Khan Talks About Going from Viral Videos to Serious Shorts","datePublished":"2016-12-22T01:00:14.000Z","dateModified":"2024-01-12T04:01:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12513759/director-imran-khan-discusses-going-from-viral-videos-to-serious-shorts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many young directors, Imran J. Khan has the internet to thank for his film career. The Pakistani-American director grew up in Silicon Valley and studied biological systems engineering at UC Davis — but on the side, he kept up a YouTube page of funny videos about the Muslim-American experience. Some even went viral.\u003c/p>\n\u003cp>After spending a few “glamorous” years making medical devices for a living, Khan decided to get serious about his hobby and left his job for film school. While a student at NYU’s Tisch Asia program in Singapore, he directed, co-wrote, and starred in \u003cem>Timmy II\u003c/em>, a comedy about “the hyphenated American experience.” (And robots.) It screened locally at Cinequest in 2015.\u003c/p>\n\u003cp>Since finishing up his MFA earlier this year, Khan is now based in Los Angeles, where he’s working on a feature script while submitting two new shorts to festivals. \u003cem>The Drone and the Kid\u003c/em>, shot on location in Lahore, Pakistan, is about a young boy who forms a friendship with a stray drone, while Prom follows a South Asian-American teen who defies his strict father to pick up his date to the dance, only to be disappointed.\u003c/p>\n\u003cp>Khan spoke to Film School Shorts about auditioning children in Pakistan, moving between comedy and drama, and sharing different perspectives on screen.\u003c/p>\n\u003cfigure id=\"attachment_12516409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12516409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Imran-Khan-800x533.jpg\" alt=\"Imran Khan directing 'Prom'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Imran-Khan.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imran Khan directing ‘Prom’ \u003ccite>(Courtesy of Imran Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nIs \u003cem>The Drone and the Kid\u003c/em> your first non-Tisch Asia production? If so, what was it like to be on your own for the first time?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I made \u003cem>The Drone and the Kid \u003c/em>originally intending for it to be an NYU film, but because of complications in NYU’s insurance process, it ended up becoming a personal project of mine instead.\u003c/p>\n\u003cp>It was really difficult because I went to Pakistan alone without any collaborators from school, so in a way it was a taste of what life after film school might be like. I also didn’t know very many people in Lahore. My parents are both from Karachi, so I didn’t have a family support system there or anything like that. It felt like walking off a plane in a foreign country and somehow getting a crew together, from scratch, and shooting a film. I didn’t even have a DP lined up before arriving in Pakistan.\u003c/p>\n\u003cp>I was also running a Kickstarter campaign to fund the film while I was in pre-production, so I was essentially producing it myself as well. It was a lot to handle, but I learned so much and I grew a lot during that time. I pushed myself as a filmmaker. In the end, I’m happy I took the risk and just went for it.\u003c/p>\n\u003cp>\u003cstrong>What was it like shooting \u003cem>The Drone and the Kid\u003c/em> in Pakistan? Did you learn anything from shooting \u003cem>Timmy II\u003c/em> that helped you with the process? \u003c/strong>\u003c/p>\n\u003cp>It was really an amazing experience, but if I’m honest, it was the hardest film I’ve ever made. It was a tough shoot, but I had a good crew, including the very talented Haider Zafar as cinematographer.\u003c/p>\n\u003cp>Weirdly enough, I actually shot this film a few months before \u003cem>Timmy II\u003c/em>, but it took about two years to finish the post-production work, so it’s only now starting to play at festivals. So in a way, I got to make mistakes on \u003cem>The Drone and the Kid\u003c/em> and learn from them before I made \u003cem>Timmy II\u003c/em>.\u003c/p>\n\u003cp>When you’re on location in difficult places, it feels really nice to be able to shoot an entire short film on a sound stage! I think I was a bit burned out from \u003cem>The Drone and the Kid\u003c/em> and just wanted to make something with no expectations to live up to. The Drone and the Kid has this really big premise and I felt the weight of it during production; it was difficult for that reason.\u003c/p>\n\u003cfigure id=\"attachment_12516413\" class=\"wp-caption aligncenter\" style=\"max-width: 777px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12516413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Usair-Drone.jpg\" alt=\"Uzair Ali preparing for a scene in which he’s eating dinner with his character’s brother\" width=\"777\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Usair-Drone-520x345.jpg 520w\" sizes=\"(max-width: 777px) 100vw, 777px\">\u003cfigcaption class=\"wp-caption-text\">Uzair Ali preparing for a scene in which he’s eating dinner with his character’s brother \u003ccite>(Courtesy of Imran Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you cast Uzair, the young star of this short?\u003c/strong>\u003c/p>\n\u003cp>I had a great producer in Lahore who helped me cast the film. I auditioned nearly 30 local kids. Some of them were actors already but most had no experience. I found Uzair Ali through that process. He had already acted in Pakistani television shows, so he had a lot of experience for someone so young. He quickly became the front-runner during casting and it was a really great experience working with him. He added a lot to the film.\u003cbr>\n\u003cstrong>\u003cbr>\nWhat inspired \u003cem>Prom\u003c/em>? Is it based on something that really happened to you, your co-writer, or someone else you knew?\u003c/strong>\u003c/p>\n\u003cp>Yes, it’s actually something that happened to my friend Hasan Minhaj, who is a talented comedian and actor. He told the story as part of a segment on the \u003cem>Moth Radio Hour\u003c/em> — it’s actually part of a larger one-man show of Hasan’s called \u003cem>Homecoming King\u003c/em> — and I approached him to adapt the story into a short film as my thesis for NYU. I connected with the story and thought it was really powerful.\u003c/p>\n\u003cp>As a filmmaker, it was challenging to adapt something that really happened. On the one hand, you’re trying to make a story function as a short film, and on the other hand you’re trying to stay true to the source material. I think balancing the two can sometimes be more difficult than working with an original concept. I had the pleasure of working with a very talented writer, Prashanth Venkataramanujam, to write the script. I’m really happy with how it turned out.\u003c/p>\n\u003cp>For me, I think it sort of functions beyond the literal and veers into something of a parable. What I mean is: To me the film is more of a metaphor. It can be interpreted to be a specific event as a stand in for the broader sentiment of being a minority in America.\u003c/p>\n\u003cfigure id=\"attachment_12516414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12516414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Prom-Still3-800x533.jpg\" alt=\"Jonah Aimz starring in 'Prom'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Prom-Still3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonah Aimz starring in ‘Prom’ \u003ccite>(Courtesy of Imran Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Prom\u003c/em> and, to a lesser extent, \u003cem>The Drone and the Kid\u003c/em>, are both much more serious than \u003cem>Timmy II\u003c/em> and your old YouTube videos. Why did you start moving into drama?\u003c/strong>\u003c/p>\n\u003cp>I really wanted to flex different muscles as a filmmaker and broaden my skill set. I think making dramatic films helped me understand comedy better.\u003c/p>\n\u003cp>My next project is a comedy and I feel really good about that because I can take what I’ve learned over the last few films and create a more complex aesthetic around the comedy. Generally, I feel more in control of my material now than before I attempted to do drama. When you do a realistic drama, like Prom, you have nothing to rely on except truthful performances. You can’t rely on stylization or anything that distracts from the subject material, so it really forces you strengthen your core skills as a director.\u003c/p>\n\u003cp>\u003cstrong>Diversity in filmmaking is a major issue these days, and all three of your shorts give the audience a glimpse of experiences they might not otherwise get to see. As you continue to write and direct, do you think you’ll continue to make work like this?\u003c/strong>\u003c/p>\n\u003cp>You know, it’s really hard to make a good film. I think I’m trying to just make good work that people want to watch. It just so happens that I’m a person from a specific background and cultural perspective, so when I attempt to make a good film, I often start with subjects that I have a connection to or experience with. As they say, “Write what you know”.\u003c/p>\n\u003cp>That being said, I do think it’s an important for there to be more representation of minorities in the film industry. I think it makes a really big difference to have minority writers, directors, and producers who can tell stories about their experiences for the reason you mentioned. It shows people a perspective that they wouldn’t normally see and I think that’s really important especially after the election.\u003c/p>\n\u003cp>Now that I think about it, I think if I were making \u003cem>Timmy II\u003c/em> now, I could replace the 9/11 scene with a scene where the presidential election results are revealed and the rest of the film would kind of go on as it is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch \u003cem>Timmy II\u003c/em>:\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/170535953/\u003cbr>\n\u003c/aside>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12513759/director-imran-khan-discusses-going-from-viral-videos-to-serious-shorts","authors":["8644"],"programs":["arts_569"],"categories":["arts_74"],"tags":["arts_1118","arts_596","arts_989"],"featImg":"arts_12516027","label":"arts_569"},"arts_12413988":{"type":"posts","id":"arts_12413988","meta":{"index":"posts_1591205157","site":"arts","id":"12413988","score":null,"sort":[1480780830000]},"guestAuthors":[],"slug":"ex-phantom-planet-guitarist-moves-to-the-world-of-film-soundtracks","title":"Ex-Phantom Planet Guitarist Moves to the World of Film Soundtracks","publishDate":1480780830,"format":"standard","headTitle":"Ex-Phantom Planet Guitarist Moves to the World of Film Soundtracks | KQED","labelTerm":{"term":569,"site":"arts"},"content":"\u003cp>By the time Jacques Brautbar finished his bachelor’s degree at the University of Southern California a few years ago, he was significantly older than most of his classmates.\u003c/p>\n\u003cp>The 37-year-old originally enrolled in the college’s Thornton School of Music in 2000. But his band, Phantom Planet – yes, the same band that featured Jason Schwartzman on drums and that wrote the theme song for\u003cem> The OC\u003c/em> – started to tour, release records and make appearances on \u003cem>Sabrina the Teenage Witch\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wq-S8CIU7VA\u003c/p>\n\u003cp>Through the ups and downs of indie-rock stardom, Brautbar continued to collect credits from USC. But once he finally conceded that he wouldn’t have a career as a professional musician, Brautbar decided to back to school full-time to become a music teacher. \u003c/p>\n\u003cp>Then he bumped into an old friend who asked if he was interested in writing music for commercials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He kind of groomed me and showed me the way of writing for picture,” Brautbar says. “That was my first experience writing music for something other than its own sake.”\u003c/p>\n\u003cp>A “music in film class” at USC helped clarify Brautbar’s new career trajectory even further: He was determined to be a film composer. “My two favorite things in life are music and film,” he says. “I think I can do this.”\u003c/p>\n\u003cp>A few composition classes and a college degree later, Brautbar was enrolled at USC again, only this time in the school’s Scoring for Motion Pictures and Television graduate program.\u003c/p>\n\u003cfigure id=\"attachment_12424872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-800x611.jpg\" alt=\"Brautbar playing with Phantom Planet in 2004\" width=\"800\" height=\"611\" class=\"size-medium wp-image-12424872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-1920x1466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-1180x901.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-960x733.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-520x397.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brautbar playing with Phantom Planet in 2004. \u003ccite>(Photo: Peter Kramer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether writing a hit indie-rock song or a short film soundtrack, Brautbar says musicians and composers work with different parts of the same brain, using the same tools in different ways. \u003c/p>\n\u003cp>Still, traditional songwriting is more self-serving. “It’s a little advertisement for itself,” he says of traditional songs. “There’s certain structures and genre tropes that you have in there, and you have to do everything within three-and-a-half minutes.”\u003c/p>\n\u003cp>On the other hand, when he’s composing for film, “it’s to help the narrative,” Brautbar says. “It’s to help the audience to connect with the film, it’s to help emotion, and it’s about timing music to picture.”\u003c/p>\n\u003cp>It’s also about working with the director, whose vision is complimented by the composer’s music. Even as an undergraduate, Brautbar made a point to befriend the student filmmakers at USC’s Cinematic Arts school. That’s how he met director Reuben Guberek and producer Jacqueline Walukas, who told him about their dream project: a stylized spoof of \u003cem>Goodfellas\u003c/em>, set in the fast food industry. Brautbar offered his services for their soundtrack, thinking nothing would come from it. But he heard back from the production team a few months later, after the project was greenlit as Guberek’s thesis film, \u003cem>Foodfellas\u003c/em>.\u003c/p>\n\u003cp>Guberek explained his vision for the film, and Brautbar immediately thought: \u003cem>Scarface\u003c/em>. “There’s something dirty about that \u003cem>Scarface\u003c/em> soundtrack,” he says. “Glossy and dirty.” For inspiration, Brautbar and Walukus spend a weekend watching the infamous Al Pacino flick. The result is six synth-heavy tracks that capture the “King of Burgers” rise from grill cook to fast-food gangster.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x6KYmzQ7maU\u003c/p>\n\u003cp>“He was always happy to go in a new direction or tweak the piece until it was right,” Guberek says of working with Brautbar. “And in the end I always felt that he nailed it.” (The director’s favorite track is “The Customer is Always Right.”)\u003c/p>\n\u003cp>Since \u003cem>Foodfellas\u003c/em>, Brautbar has composed music for more than a dozen undergraduate and graduate USC films. (“That’s the best part about going to USC: There are people making movies there,” he says.) He also won a coveted 2016 Sundance Institute Fellowship in the Music and Sound Design Labs, an eight-day experience he likens to “creative camp.”\u003c/p>\n\u003cp>Brautbar’s words of advice to future film composers: Be somebody that people want to work with. That can be tough, since composers are weird, he admits. “We’re shy or sometimes we’re very precious about our music,” he says. “You’ve got to let all of that go, because when you’re working on a film, the director is your boss and you’re providing a service for your boss.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The world is oversaturated with talented people, talented composers,” he adds. “I think at the end of the day, people want to work with people they like to be around.”\u003c/p>\n\n","blocks":[],"excerpt":"Jacques Brautbar discusses with Film School Shorts how he moved from the world of popular music to composing soundtracks for films.","status":"publish","parent":0,"modified":1705032326,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":831},"headData":{"title":"Ex-Phantom Planet Guitarist Moves to the World of Film Soundtracks | KQED","description":"Jacques Brautbar discusses with Film School Shorts how he moved from the world of popular music to composing soundtracks for films.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ex-Phantom Planet Guitarist Moves to the World of Film Soundtracks","datePublished":"2016-12-03T16:00:30.000Z","dateModified":"2024-01-12T04:05:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12413988/ex-phantom-planet-guitarist-moves-to-the-world-of-film-soundtracks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Jacques Brautbar finished his bachelor’s degree at the University of Southern California a few years ago, he was significantly older than most of his classmates.\u003c/p>\n\u003cp>The 37-year-old originally enrolled in the college’s Thornton School of Music in 2000. But his band, Phantom Planet – yes, the same band that featured Jason Schwartzman on drums and that wrote the theme song for\u003cem> The OC\u003c/em> – started to tour, release records and make appearances on \u003cem>Sabrina the Teenage Witch\u003c/em>.\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/wq-S8CIU7VA'\n title='//www.youtube.com/embed/wq-S8CIU7VA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the ups and downs of indie-rock stardom, Brautbar continued to collect credits from USC. But once he finally conceded that he wouldn’t have a career as a professional musician, Brautbar decided to back to school full-time to become a music teacher. \u003c/p>\n\u003cp>Then he bumped into an old friend who asked if he was interested in writing music for commercials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He kind of groomed me and showed me the way of writing for picture,” Brautbar says. “That was my first experience writing music for something other than its own sake.”\u003c/p>\n\u003cp>A “music in film class” at USC helped clarify Brautbar’s new career trajectory even further: He was determined to be a film composer. “My two favorite things in life are music and film,” he says. “I think I can do this.”\u003c/p>\n\u003cp>A few composition classes and a college degree later, Brautbar was enrolled at USC again, only this time in the school’s Scoring for Motion Pictures and Television graduate program.\u003c/p>\n\u003cfigure id=\"attachment_12424872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-800x611.jpg\" alt=\"Brautbar playing with Phantom Planet in 2004\" width=\"800\" height=\"611\" class=\"size-medium wp-image-12424872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-1020x779.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-1920x1466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-1180x901.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-960x733.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar-520x397.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Jacques-Brautbar.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brautbar playing with Phantom Planet in 2004. \u003ccite>(Photo: Peter Kramer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether writing a hit indie-rock song or a short film soundtrack, Brautbar says musicians and composers work with different parts of the same brain, using the same tools in different ways. \u003c/p>\n\u003cp>Still, traditional songwriting is more self-serving. “It’s a little advertisement for itself,” he says of traditional songs. “There’s certain structures and genre tropes that you have in there, and you have to do everything within three-and-a-half minutes.”\u003c/p>\n\u003cp>On the other hand, when he’s composing for film, “it’s to help the narrative,” Brautbar says. “It’s to help the audience to connect with the film, it’s to help emotion, and it’s about timing music to picture.”\u003c/p>\n\u003cp>It’s also about working with the director, whose vision is complimented by the composer’s music. Even as an undergraduate, Brautbar made a point to befriend the student filmmakers at USC’s Cinematic Arts school. That’s how he met director Reuben Guberek and producer Jacqueline Walukas, who told him about their dream project: a stylized spoof of \u003cem>Goodfellas\u003c/em>, set in the fast food industry. Brautbar offered his services for their soundtrack, thinking nothing would come from it. But he heard back from the production team a few months later, after the project was greenlit as Guberek’s thesis film, \u003cem>Foodfellas\u003c/em>.\u003c/p>\n\u003cp>Guberek explained his vision for the film, and Brautbar immediately thought: \u003cem>Scarface\u003c/em>. “There’s something dirty about that \u003cem>Scarface\u003c/em> soundtrack,” he says. “Glossy and dirty.” For inspiration, Brautbar and Walukus spend a weekend watching the infamous Al Pacino flick. The result is six synth-heavy tracks that capture the “King of Burgers” rise from grill cook to fast-food gangster.\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/x6KYmzQ7maU'\n title='//www.youtube.com/embed/x6KYmzQ7maU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was always happy to go in a new direction or tweak the piece until it was right,” Guberek says of working with Brautbar. “And in the end I always felt that he nailed it.” (The director’s favorite track is “The Customer is Always Right.”)\u003c/p>\n\u003cp>Since \u003cem>Foodfellas\u003c/em>, Brautbar has composed music for more than a dozen undergraduate and graduate USC films. (“That’s the best part about going to USC: There are people making movies there,” he says.) He also won a coveted 2016 Sundance Institute Fellowship in the Music and Sound Design Labs, an eight-day experience he likens to “creative camp.”\u003c/p>\n\u003cp>Brautbar’s words of advice to future film composers: Be somebody that people want to work with. That can be tough, since composers are weird, he admits. “We’re shy or sometimes we’re very precious about our music,” he says. “You’ve got to let all of that go, because when you’re working on a film, the director is your boss and you’re providing a service for your boss.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The world is oversaturated with talented people, talented composers,” he adds. “I think at the end of the day, people want to work with people they like to be around.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12413988/ex-phantom-planet-guitarist-moves-to-the-world-of-film-soundtracks","authors":["8644"],"programs":["arts_569"],"categories":["arts_74","arts_69"],"tags":["arts_1118","arts_596","arts_1401"],"featImg":"arts_12424874","label":"arts_569"},"arts_12376686":{"type":"posts","id":"arts_12376686","meta":{"index":"posts_1591205157","site":"arts","id":"12376686","score":null,"sort":[1479753290000]},"guestAuthors":[],"slug":"catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy","title":"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy","publishDate":1479753290,"format":"standard","headTitle":"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy | KQED","labelTerm":{},"content":"\u003cblockquote>\n\u003cp>\u003cem>\u003cstrong>Only if we show diversity as both positive and normal, will we actually evoke change.\u003c/strong>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>After graduating from NYU, \u003cem>\u003cstrong>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/late-spring/\" rel=\"noopener\">Late Spring\u003c/a> \u003c/strong>\u003c/em>director \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/zachary-kerschberg/\" rel=\"noopener\">Zachary Kerschberg\u003c/a> traveled to Berlin, where he was inspired to make \u003cem>Crises – A Berlin Trilogy\u003c/em>. The in-progress trio of films will blend multiple genres and filmmaking \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" title=\"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"After graduating from NYU, Late Spring director Zachary Kerschberg traveled to Berlin, where he was inspired to make 'Crises – A Berlin Trilogy.'","status":"publish","parent":0,"modified":1705032425,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":60},"headData":{"title":"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy | KQED","description":"After graduating from NYU, Late Spring director Zachary Kerschberg traveled to Berlin, where he was inspired to make 'Crises – A Berlin Trilogy.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy","datePublished":"2016-11-21T18:34:50.000Z","dateModified":"2024-01-12T04:07:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"rssmiSourceLink":"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/","sticky":false,"path":"/arts/12376686/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\n\u003cp>\u003cem>\u003cstrong>Only if we show diversity as both positive and normal, will we actually evoke change.\u003c/strong>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>After graduating from NYU, \u003cem>\u003cstrong>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/late-spring/\" rel=\"noopener\">Late Spring\u003c/a> \u003c/strong>\u003c/em>director \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/zachary-kerschberg/\" rel=\"noopener\">Zachary Kerschberg\u003c/a> traveled to Berlin, where he was inspired to make \u003cem>Crises – A Berlin Trilogy\u003c/em>. The in-progress trio of films will blend multiple genres and filmmaking \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/11/21/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy/\" target=\"_blank\" title=\"Catching Up with Zachary Kerschberg and His New Project, the Crises Trilogy\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12376686/catching-up-with-zachary-kerschberg-and-his-new-project-the-crises-trilogy","authors":["8652"],"programs":["arts_569"],"categories":["arts_74"],"featImg":"arts_12376687","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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