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Jasmine graduated from UC Berkeley with a degree in Media Studies, where she was also an Arts and Entertainment reporter at the Daily Californian.","avatar":"https://secure.gravatar.com/avatar/a6ea8b0641874311533b7401bee15c8e?s=600&d=blank&r=g","twitter":"JFLGarnett","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]},{"site":"news","roles":["editor"]},{"site":"about","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"forum","roles":["editor"]},{"site":"pressroom","roles":["editor"]}],"headData":{"title":"Jasmine Garnett | KQED","description":"Audience Engagement Associate","ogImgSrc":"https://secure.gravatar.com/avatar/a6ea8b0641874311533b7401bee15c8e?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a6ea8b0641874311533b7401bee15c8e?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jasminegarnett"},"amarkowitz":{"type":"authors","id":"11660","meta":{"index":"authors_1591205172","id":"11660","found":true},"name":"Ariella Markowitz","firstName":"Ariella","lastName":"Markowitz","slug":"amarkowitz","email":"amarkowitz@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Ariella is a former intern for the California Report Magazine. 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Ariella loves investigative reporting, personal stories that interrogate power, and spicy vegan cooking.","avatar":"https://secure.gravatar.com/avatar/a49317e9a9fc1762b408b2ca90b38a13?s=600&d=blank&r=g","twitter":"ariellaudio","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["subscriber"]},{"site":"forum","roles":["editor"]},{"site":"perspectives","roles":["administrator"]}],"headData":{"title":"Ariella Markowitz | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/a49317e9a9fc1762b408b2ca90b38a13?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a49317e9a9fc1762b408b2ca90b38a13?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/amarkowitz"}},"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":"news","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":"/"}},"news_11959359":{"type":"posts","id":"news_11959359","meta":{"index":"posts_1591205157","site":"news","id":"11959359","score":null,"sort":[1693576825000]},"guestAuthors":[],"slug":"hulus-good-trouble-hired-this-hollywood-food-stylist-to-make-18-pizzas","title":"The Hollywood Food Stylist Behind the Scenes of Popular Films and TV","publishDate":1693576825,"format":"standard","headTitle":"The Hollywood Food Stylist Behind the Scenes of Popular Films and TV | KQED","labelTerm":{},"content":"\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.[aside postID=news_11954383 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg']Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’[/pullquote]They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’[/pullquote]McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.[aside postID=news_11958720 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg']“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.[pullquote size=\"medium\" align=\"right\" citation=\"Melissa McSorley, Hollywood food stylist\"]‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’[/pullquote]“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Hollywood writers and actors are on strike. But these work stoppages also affect other creative people in the business, including food stylists for TV and film.","status":"publish","parent":0,"modified":1693587992,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":52,"wordCount":2083},"headData":{"title":"The Hollywood Food Stylist Behind the Scenes of Popular Films and TV | KQED","description":"Hollywood writers and actors are on strike. But these work stoppages also affect other creative people in the business, including food stylists for TV and film.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The Hollywood Food Stylist Behind the Scenes of Popular Films and TV","datePublished":"2023-09-01T14:00:25.000Z","dateModified":"2023-09-01T17:06:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Food","sourceUrl":"/food/","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/e712bbfc-a3f5-4276-a764-b06e01610b66/audio.mp3","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11959359/hulus-good-trouble-hired-this-hollywood-food-stylist-to-make-18-pizzas","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making engaging movies or TV shows is all about creating a convincing fantasy. Take the show \u003ca href=\"https://www.imdb.com/title/tt0804503/\">\u003cem>Mad Men\u003c/em>\u003c/a> for example: The mid-century furniture, soundtrack and clothes all work together to create a mood.\u003c/p>\n\u003cp>Perhaps less obvious, but no less important, is the food seen on screen — tomato aspic, salmon mousse or cocktail party weenies in grape jelly that take us right back to the 1960s.\u003c/p>\n\u003cp>Behind every dish on screen, there’s a person or a team of people researching it, cooking it and keeping it fresh on set take after take. It may seem simple, but food styling requires a unique combination of organizational skills, culinary expertise and creativity.\u003c/p>\n\u003cp>While much of the \u003ca href=\"https://www.washingtonpost.com/lifestyle/2023/08/27/hollywood-writers-strike-issues-studios/\">media attention is focused on the Hollywood writers and actors strike\u003c/a>, thousands of \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/hollywood-indictment-crypto-space/wga-sag-aftra-economic-costs\">other movie industry workers are impacted\u003c/a> by the work stoppage. People like food stylist Melissa McSorley, whose work is often invisible.\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\u003ch2>Behind the scenes with Hollywood’s food stylist\u003c/h2>\n\u003cp>On an early morning in March, well before the strikes began, McSorley pulled into the parking lot of a distinctly unglamorous part of Santa Clarita — an industrial-park-turned-soundstage.\u003c/p>\n\u003cp>She unloaded her SUV, packed as tightly as a perfectly played Tetris game, pulling out electric burners and what looked like a contractor’s tool bag. Instead of hammers and drills, it held hundreds of kitchen utensils, from tongs and torches to measuring cups and cutting boards.\u003c/p>\n\u003cp>McSorley moves around a lot, working on different sets most days, so she carries all her tools with her. On this particular set, she was assigned a designated space for her work kitchen — a treat — because the show, Hulu’s \u003ca href=\"https://www.imdb.com/title/tt7820906/?ref_=fn_al_tt_1\">\u003cem>Good Trouble\u003c/em>\u003c/a>, features a character who is opening a restaurant. Food is central to the show’s plot.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11954383","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/06/20230626-SAUCY-CHICK-05-KQED-1020x816.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Before they started filming, the space was an empty shell with ceiling insulation exposed, McSorley said. But crews built a half-dozen huge plywood boxes that each hold a completely realistic room, like an office or a den.\u003c/p>\n\u003cp>“So many people touched all of this before you could even think about putting food into this set,” McSorley said, with awe.\u003cem> \u003c/em>\u003c/p>\n\u003cp>She made sure everything on the commercial kitchen set was perfect before filming began the next day when actors were expected to flip burgers and stir polenta. The set was incredibly realistic, from rubber mats covering the floor to food containers labeled with blue painter’s tape. Except, it wasn’t a real kitchen.\u003c/p>\n\u003cp>“One thing about a set, it doesn’t have practical lighting,” McSorley said. “Any light switches you see don’t really work.”\u003c/p>\n\u003cp>She had to use the flashlight on her phone to complete her inspection.\u003c/p>\n\u003ch2>An unlikely career\u003c/h2>\n\u003cp>Food styling is not the job McSorley thought she’d have.\u003c/p>\n\u003cp>She grew up in Burbank, home to many studios, but her family wasn’t involved in entertainment at all.\u003c/p>\n\u003cp>“My mom had office jobs,” McSorley said. “In fact, when I was little, she was a telephone operator. I don’t even think that exists anymore.”\u003c/p>\n\u003cp>Her stepfather owned a printing company in North Hollywood. But the entertainment industry was all around. As a girl, she remembers driving past fans lining up to watch \u003cem>The Tonight Show\u003c/em> being taped.\u003c/p>\n\u003cp>“There was [an actors’] strike that happened when I was in high school, and it affected a lot of the families that I grew up with,” she said.\u003c/p>\n\u003cp>That’s when she told her family that she would never work in entertainment.\u003c/p>\n\u003cp>“I never wanted to work in an industry where people were so expendable,” she said. “Nobody cared how many lives these strikes could disrupt. And so, I was never, ever, ever going to be in this industry.”\u003c/p>\n\u003cp>Melissa was a kid with a creative streak, growing up in a structured home.\u003c/p>\n\u003cp>“When I was in high school, I actually wanted to go to school for photography, and my parents said that I could do that as a hobby any time I wanted,” she said.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I decided I was just going to do it part-time for a little while before I decided what I really wanted to do. It turned out that I loved it. And here I am, almost 20 years later.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Melissa McSorley, Hollywood food stylist","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>They expected her to pursue a degree that would lead to a stable career.\u003c/p>\n\u003cp>“Culinary arts falls under the term ‘arts,’ and it would not have been acceptable to my parents,” she said.\u003c/p>\n\u003cp>So she studied biology and psychology. She learned the basics of cooking as a kid by whipping up casseroles for her hungry siblings when her mom was working.\u003c/p>\n\u003cp>After college, she started taking cooking courses in her spare time. She cycled through several different careers, working at an electrical engineering company, drawing blood and producing commercials at an advertising agency.\u003c/p>\n\u003cp>But she yearned for more creative work. While working at the ad agency, she encountered her first “food stylist.”\u003c/p>\n\u003cp>“I decided I was just going to do it part-time for a little while before I decided what I really wanted to do,” McSorley said. “It turned out that I loved it. And here I am, almost 20 years later.”\u003c/p>\n\u003ch2>Not home cooking\u003c/h2>\n\u003cp>In her work kitchen on the set of \u003cem>Good Trouble\u003c/em>, McSorley demonstrated how cooking for the screen is a lot different than cooking at home. For example, in one scene an actor makes a pizza. To pull that off, she needed to prep at least 18 pizzas so the crew could shoot the actor in all stages of pizza-making.\u003c/p>\n\u003cp>“So you’ll see her grab a dough ball, that’s been proofed and looks amazing,” McSorley said.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Then, you might see her start to sauce it. Then, you might see it finished, but uncooked. At the very, very end of the scene, she’ll pull out that perfect pizza.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Melissa McSorley, Hollywood food stylist","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>McSorley will then swap out that dough for another that’s been perfectly shaped.\u003c/p>\n\u003cp>“Then, you might see her start to sauce it. Then, you might see it finished, but uncooked,” she said. “At the very, very end of the scene, she’ll pull out that perfect pizza.”\u003c/p>\n\u003cp>And to make sure that shot is just right, McSorley will have three or four perfect pizzas prepped — just in case.\u003c/p>\n\u003cp>Her job depends on making sure that food looks as delicious as possible, and that it looks identical, take after take.\u003c/p>\n\u003ch2>A bizarre set of skills\u003c/h2>\n\u003cp>What’s clear is that a Hollywood food stylist needs an eclectic array of skills that go way beyond cooking.\u003c/p>\n\u003cp>First, they have to be organized. Even the simplest scene has many moving parts. One pivotal scene in the \u003ca href=\"https://www.imdb.com/title/tt2279339/\">2015 film \u003cem>Love the Coopers\u003c/em>\u003c/a>, for example, took place around a Christmas dinner table.\u003c/p>\n\u003cfigure id=\"attachment_11959571\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11959571\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg\" alt=\"A woman with light-brown hair and black glasses holds a clipboard in one hand, a pen in the other, as she stands in front of a large refrigerator filled with food.\" width=\"2000\" height=\"1333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/08/230830-Hollywood-Food-Stylist-LM-02-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Food stylist Melissa McSorley checks the set refrigerator for ingredients needed for the next day’s shooting on the set of the Hulu series ‘Good Trouble.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McSorley said the scene took nine days to shoot and in that time they went through more than 50 turkeys. There were full, perfect turkeys, turkeys staged just for carving, turkeys that fell on the floor, turkeys that the dog came too close to, and even turkeys in the oven. McSorley had to find them, buy them, store them and cook them.\u003c/p>\n\u003cp>“There were a lot of turkeys,” she said, shaking her head.\u003c/p>\n\u003cp>Second, a food stylist needs to be a nutritionist — and a problem-solver. In that same scene in \u003cem>Love the Coopers\u003c/em>, stars like Diane Keaton, John Goodman, Marisa Tomei and Alan Arkin all sat together.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11958720","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/06/RS66538_230623-wahpepahs-kitchen-05-ks-KQED-1020x679.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“When you went around the table, there was a vegetarian who loves cheese; a vegan that also doesn’t do sugar or sugar substitutes; [and] other people who ate no carbs,” McSorley said. “You have to make sure that you’ve made something that everybody can eat.”\u003c/p>\n\u003cp>Third, food stylists are often technical advisors, making sure kitchens on set seem real to viewers. They’ll organize a fictional restaurant’s fridge according to safety regulations, with raw meat on the bottom level, not sitting on top of produce, for instance.\u003c/p>\n\u003ch2>Amplifying scenes with food\u003c/h2>\n\u003cp>“The highlights of my career are the times when I’ve been able to do something that is, like, so amplified,” McSorley said.\u003c/p>\n\u003cp>Like the time she dug into research for a period-perfect meal in \u003cem>Mad Men\u003c/em> or \u003cem>Perry Mason\u003c/em> or making food for imaginary worlds.\u003c/p>\n\u003cp>On \u003ca href=\"https://www.imdb.com/title/tt0844441/?ref_=fn_al_tt_1\">the vampire drama \u003cem>True Blood\u003c/em>\u003c/a>, McSorley’s first task was to concoct a substance worthy of the show’s title — a drink that actors could gulp down, that also looked and functioned like blood, not juice.\u003c/p>\n\u003cp>“It had to leave a trail when it went down the glass,” she said, “And so, that was a lot of fun, using a little bit of wheatgrass to give it the opaqueness that it needed, and then to add a little bit of methyl cellulose to get the viscosity that it needed.”\u003c/p>\n\u003cp>She added pomegranate-cherry juice to get the right color and to lend it a decent taste.\u003c/p>\n\u003cp>“It was like a little chemistry experiment in the kitchen,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>McSorley also created the food seen in science-fiction shows like \u003ca href=\"https://www.imdb.com/title/tt8806524/?ref_=nv_sr_srsg_0_tt_2_nm_6_q_picard\">\u003cem>Star Trek:\u003c/em> \u003cem>Picard\u003c/em>\u003c/a> or \u003ca href=\"https://www.imdb.com/title/tt13668894/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_boba%2520fett\">\u003cem>The Book of\u003c/em> \u003cem>Boba Fett\u003c/em>\u003c/a>. And that’s not as simple as it might seem.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with. Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Melissa McSorley, Hollywood food stylist","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The food couldn’t look like anything that we’ve seen here,” McSorley said. “Was it a planet that actually had an environment: air, water to it? Was it a dry planet that maybe everything would have been from root vegetables? And then, you just figure out what exists in the edible world that you can make look like that.”\u003c/p>\n\u003cp>For one scene in \u003cem>Boba Fett\u003c/em>, McSorley helped fill a 30-foot-long table for a feast. One element was a roasted \u003cem>nuna\u003c/em>, a swamp turkey from the planet Naboo.\u003c/p>\n\u003cp>“And it was really awesome because I was able to work with the prop master to come up with a \u003cem>nuna\u003c/em> skeleton and skin that I could work with,” she said. “Then, I filled it with turkey meat so that it looked like the meat was just coming off in layers. And you really get the idea that these came from another planet.”\u003c/p>\n\u003cp>In the hands of a stylist like McSorley, food becomes a character on screen. It can help set the mood with party food, home cooking or upscale bites.\u003c/p>\n\u003cp>It can mirror the personality of a character — like a meticulous assassin who also bakes with precision. One glance at a plate and the viewer should get a sense of the person in the scene with it.\u003c/p>\n\u003cp>It takes a lot of labor to make the shimmering fantasy that Hollywood sells to the world. There are a lot of behind-the-scenes industry people like Melissa whose work is largely invisible — and they’re all feeling the impact of recent labor disputes.\u003c/p>\n\u003cp>“I guess I wish people knew that the job existed, that the food didn’t just miraculously appear on the plate,” she said.\u003c/p>\n\u003cp>\u003cem>Lisa Morehouse’s series \u003c/em>\u003ca href=\"https://californiafoodways.com/\">\u003cem>California Foodways\u003c/em>\u003c/a>\u003cem> is supported by California Humanities, a nonprofit partner of the National Endowment for the Humanities.\u003c/em>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11959359/hulus-good-trouble-hired-this-hollywood-food-stylist-to-make-18-pizzas","authors":["3229"],"programs":["news_72","news_26731"],"categories":["news_223","news_24114","news_8"],"tags":["news_18538","news_17719","news_333","news_5396","news_2254","news_24590","news_701","news_3414"],"featImg":"news_11959570","label":"source_news_11959359"},"news_11952358":{"type":"posts","id":"news_11952358","meta":{"index":"posts_1591205157","site":"news","id":"11952358","score":null,"sort":[1686098217000]},"guestAuthors":[],"slug":"sf-supes-ok-effort-renovate-castro-theater","title":"SF Supes OK Bid to Remove Castro Theatre Seats to Make Way for Multiuse Entertainment Venue","publishDate":1686098217,"format":"standard","headTitle":"SF Supes OK Bid to Remove Castro Theatre Seats to Make Way for Multiuse Entertainment Venue | KQED","labelTerm":{"site":"news"},"content":"\u003cp>San Francisco lawmakers on Tuesday approved an effort to change the seating plan in the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">Castro Theatre\u003c/a>, marking a big win for its new managers who have sought to convert the famed movie house into a multiuse entertainment venue.\u003c/p>\n\u003cp>Although the full Board of Supervisors voted nearly unanimously to designate the interior of the legendary theater a historic landmark, it also narrowly passed an amendment allowing the orchestra-level seats to be removed.\u003c/p>\n\u003cp>The 6–4 vote in favor of the amendment — brought by Supervisor Rafael Mandelman, who represents the Castro neighborhood — deals a blow to local activists who waged a protracted fight to protect the movie-theater-style layout of the century-old cinema, and brings the venue’s management company one step closer to gutting the theater’s seats as part of a major renovation plan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The move, however, still needs final approval from the city’s Historic Preservation Commission and could be delayed if opponents try to appeal.\u003c/p>\n\u003cp>“The Castro Theatre needs saving, but I don’t believe landmarking fixed seats is the answer,” said Supervisor Joel Engardio, who voted for the amendment. “The theater needs seating flexibility to offer all kinds of events and programs to ensure its survival.”\u003c/p>\n\u003cp>It’s the people that bring the theater to life, he added, not the physical seats.\u003c/p>\n\u003cp>“That’s why we must create spaces where a new generation can make new memories in a magnificent old building outfitted for the future,” Engardio said. “A theater completely preserved in amber and closed will not help the Castro neighborhood. A thriving theater will.”[pullquote size=\"medium\" align=\"right\" citation=\"Supervisor Joel Engardio\"]‘The Castro Theatre needs saving, but I don’t believe landmarking fixed seats is the answer. The theater needs seating flexibility to offer all kinds of events and programs to ensure its survival.’[/pullquote]But Supervisor Dean Preston, among the minority on the board opposing changes to the theater’s seating, said it didn’t make much sense to designate the inside of the venue a historic landmark but “exclude what are clearly key features.”\u003c/p>\n\u003cp>The ornate theater, which had long been known as a jewel of the local film scene and a beacon for the LGBTQ+ community, \u003ca href=\"https://www.savethecastrotheatre.org/history\">became San Francisco’s 100th historic landmark in 1977\u003c/a>, a designation that protected the building’s exterior from demolition or alteration, but did little to ensure the preservation of its interior.\u003c/p>\n\u003cp>In early 2022, less than two years after taking over management of the Castro, Another Planet Entertainment (APE), a locally owned concert production company that also operates Bill Graham Civic Auditorium and Oakland’s Fox Theater, among other venues, announced \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">major renovation plans\u003c/a> for the theater, including removing the current seating arrangement and adding tiered sections for standing-room concerts.\u003c/p>\n\u003cp>“We want to present all sorts of programming in the theater — comedy, music, film, community and private events and more,” \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\">APE said in a statement\u003c/a> at the time.\u003c/p>\n\u003cp>The local \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">film community’s reaction\u003c/a> was swift and decisive, with many insisting that APE’s proposed changes would irrevocably compromise a hallowed cultural space.\u003c/p>\n\u003cp>What followed were rallies, the online #SaveTheSeats campaign, and hundreds of chain emails sent to officials demanding that the inside of the theater be designated a historic landmark to preserve the seat layout. Much of that organizing has been led by the Castro Theatre Conservancy, a nonprofit group whose \u003ca href=\"https://www.change.org/p/save-the-castro-theatre?recruiter=1268537657&recruited_by_id=648fcfe0-e8d4-11ec-9e25-21a94fd72a54&utm_source=share_petition&utm_campaign=share_petition&utm_term=39cfd884ff714a409131a02411f0f206&utm_medium=copylink&utm_content=cl_sharecopy_33613492_en-US%3A7\">petition to protect the existing seat configuration\u003c/a> as part of the theater’s historic landmark status has drawn more than 12,000 signatures.[aside postID=news_11942942 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/03/RS30003_untitled-12-qut-1020x680.jpg']Changing the theater’s seating plan, the group argues on its petition site, “would undermine film presentation or price out LGBTQ+ events or the City’s many independent film festivals that call the Castro home.”\u003c/p>\n\u003cp>In February, more than 100 people — most opposed to the renovation — waited for hours to implore the city’s historic preservation commission to reject APE’s proposed changes to the theater. The \u003ca class=\"c-link\" href=\"https://citypln-m-extnl.sfgov.org/Commissions/HPC/2_1_2023/Commission%20Packet/2022-006075DES.pdf\">commission went on to recommend landmarking the theater’s interior (PDF)\u003c/a>, but left the final decision to the Board of Supervisors.\u003c/p>\n\u003cp>“We feel that as the only surviving theater of its type in the city that it should be protected from that,” said Harry Breaux, a local activist who was among a group of demonstrators on the steps of City Hall early Tuesday afternoon, ahead of the board’s vote.\u003c/p>\n\u003cp>Michael Petrelis, who has helped lead opposition to the renovation plan, says the seats are a crucial part of the theater’s history and character, and fears that if APE removes them, “then the interior is totally destroyed forever.”\u003c/p>\n\u003cp>“We will never get back the interior integrity of the Castro Theatre if Another Planet gets their way today,” Petrelis said, accusing APE of not respecting the community’s input and refusing to allow local groups to host traditional film screening events on nights when no concerts are scheduled. [pullquote size=\"medium\" align=\"right\" citation=\"David Perry, Castro Theatre spokesperson, Another Planet Entertainment\"]‘I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre.’[/pullquote]Proponents of the renovation, however, argue the change would beneficially broaden the theater’s offering, transforming it into a more dynamic arts venue where queer film and performances could be equally showcased. Doing so, they say, would also give the financially struggling venue a fighting chance of surviving at a time when local movie theaters are shuttering at an alarming rate.\u003c/p>\n\u003cp>“I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre,” said David Perry, the Castro Theatre spokesperson for APE. “The plan that Another Planet has put forward doesn’t lessen the iconic nature of the Castro. It increases its ability to become an icon for people to embrace for years to come.”\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQEDs Phoebe Quinton and Chris Beale.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The full Board of Supervisors voted nearly unanimously to designate the venue's interior as a historic landmark, but also approved a controversial amendment allowing the management company to tear out the iconic movie house's traditional seating.","status":"publish","parent":0,"modified":1686176195,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1058},"headData":{"title":"SF Supes OK Bid to Remove Castro Theatre Seats to Make Way for Multiuse Entertainment Venue | KQED","description":"The full Board of Supervisors voted nearly unanimously to designate the venue's interior as a historic landmark, but also approved a controversial amendment allowing the management company to tear out the iconic movie house's traditional seating.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"SF Supes OK Bid to Remove Castro Theatre Seats to Make Way for Multiuse Entertainment Venue","datePublished":"2023-06-07T00:36:57.000Z","dateModified":"2023-06-07T22:16:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11952358/sf-supes-ok-effort-renovate-castro-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco lawmakers on Tuesday approved an effort to change the seating plan in the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">Castro Theatre\u003c/a>, marking a big win for its new managers who have sought to convert the famed movie house into a multiuse entertainment venue.\u003c/p>\n\u003cp>Although the full Board of Supervisors voted nearly unanimously to designate the interior of the legendary theater a historic landmark, it also narrowly passed an amendment allowing the orchestra-level seats to be removed.\u003c/p>\n\u003cp>The 6–4 vote in favor of the amendment — brought by Supervisor Rafael Mandelman, who represents the Castro neighborhood — deals a blow to local activists who waged a protracted fight to protect the movie-theater-style layout of the century-old cinema, and brings the venue’s management company one step closer to gutting the theater’s seats as part of a major renovation plan.\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>The move, however, still needs final approval from the city’s Historic Preservation Commission and could be delayed if opponents try to appeal.\u003c/p>\n\u003cp>“The Castro Theatre needs saving, but I don’t believe landmarking fixed seats is the answer,” said Supervisor Joel Engardio, who voted for the amendment. “The theater needs seating flexibility to offer all kinds of events and programs to ensure its survival.”\u003c/p>\n\u003cp>It’s the people that bring the theater to life, he added, not the physical seats.\u003c/p>\n\u003cp>“That’s why we must create spaces where a new generation can make new memories in a magnificent old building outfitted for the future,” Engardio said. “A theater completely preserved in amber and closed will not help the Castro neighborhood. A thriving theater will.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘The Castro Theatre needs saving, but I don’t believe landmarking fixed seats is the answer. The theater needs seating flexibility to offer all kinds of events and programs to ensure its survival.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Supervisor Joel Engardio","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Supervisor Dean Preston, among the minority on the board opposing changes to the theater’s seating, said it didn’t make much sense to designate the inside of the venue a historic landmark but “exclude what are clearly key features.”\u003c/p>\n\u003cp>The ornate theater, which had long been known as a jewel of the local film scene and a beacon for the LGBTQ+ community, \u003ca href=\"https://www.savethecastrotheatre.org/history\">became San Francisco’s 100th historic landmark in 1977\u003c/a>, a designation that protected the building’s exterior from demolition or alteration, but did little to ensure the preservation of its interior.\u003c/p>\n\u003cp>In early 2022, less than two years after taking over management of the Castro, Another Planet Entertainment (APE), a locally owned concert production company that also operates Bill Graham Civic Auditorium and Oakland’s Fox Theater, among other venues, announced \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\">major renovation plans\u003c/a> for the theater, including removing the current seating arrangement and adding tiered sections for standing-room concerts.\u003c/p>\n\u003cp>“We want to present all sorts of programming in the theater — comedy, music, film, community and private events and more,” \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\">APE said in a statement\u003c/a> at the time.\u003c/p>\n\u003cp>The local \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">film community’s reaction\u003c/a> was swift and decisive, with many insisting that APE’s proposed changes would irrevocably compromise a hallowed cultural space.\u003c/p>\n\u003cp>What followed were rallies, the online #SaveTheSeats campaign, and hundreds of chain emails sent to officials demanding that the inside of the theater be designated a historic landmark to preserve the seat layout. Much of that organizing has been led by the Castro Theatre Conservancy, a nonprofit group whose \u003ca href=\"https://www.change.org/p/save-the-castro-theatre?recruiter=1268537657&recruited_by_id=648fcfe0-e8d4-11ec-9e25-21a94fd72a54&utm_source=share_petition&utm_campaign=share_petition&utm_term=39cfd884ff714a409131a02411f0f206&utm_medium=copylink&utm_content=cl_sharecopy_33613492_en-US%3A7\">petition to protect the existing seat configuration\u003c/a> as part of the theater’s historic landmark status has drawn more than 12,000 signatures.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11942942","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/03/RS30003_untitled-12-qut-1020x680.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Changing the theater’s seating plan, the group argues on its petition site, “would undermine film presentation or price out LGBTQ+ events or the City’s many independent film festivals that call the Castro home.”\u003c/p>\n\u003cp>In February, more than 100 people — most opposed to the renovation — waited for hours to implore the city’s historic preservation commission to reject APE’s proposed changes to the theater. The \u003ca class=\"c-link\" href=\"https://citypln-m-extnl.sfgov.org/Commissions/HPC/2_1_2023/Commission%20Packet/2022-006075DES.pdf\">commission went on to recommend landmarking the theater’s interior (PDF)\u003c/a>, but left the final decision to the Board of Supervisors.\u003c/p>\n\u003cp>“We feel that as the only surviving theater of its type in the city that it should be protected from that,” said Harry Breaux, a local activist who was among a group of demonstrators on the steps of City Hall early Tuesday afternoon, ahead of the board’s vote.\u003c/p>\n\u003cp>Michael Petrelis, who has helped lead opposition to the renovation plan, says the seats are a crucial part of the theater’s history and character, and fears that if APE removes them, “then the interior is totally destroyed forever.”\u003c/p>\n\u003cp>“We will never get back the interior integrity of the Castro Theatre if Another Planet gets their way today,” Petrelis said, accusing APE of not respecting the community’s input and refusing to allow local groups to host traditional film screening events on nights when no concerts are scheduled. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"David Perry, Castro Theatre spokesperson, Another Planet Entertainment","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Proponents of the renovation, however, argue the change would beneficially broaden the theater’s offering, transforming it into a more dynamic arts venue where queer film and performances could be equally showcased. Doing so, they say, would also give the financially struggling venue a fighting chance of surviving at a time when local movie theaters are shuttering at an alarming rate.\u003c/p>\n\u003cp>“I can’t imagine the city of San Francisco, or the international gay community, without the Castro Theatre,” said David Perry, the Castro Theatre spokesperson for APE. “The plan that Another Planet has put forward doesn’t lessen the iconic nature of the Castro. It increases its ability to become an icon for people to embrace for years to come.”\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQEDs Phoebe Quinton and Chris Beale.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11952358/sf-supes-ok-effort-renovate-castro-theater","authors":["1263"],"categories":["news_29992","news_8"],"tags":["news_19133","news_32796","news_27626","news_17719","news_5541","news_38"],"featImg":"news_11952381","label":"news"},"news_11922643":{"type":"posts","id":"news_11922643","meta":{"index":"posts_1591205157","site":"news","id":"11922643","score":null,"sort":[1660671130000]},"guestAuthors":[],"slug":"everyone-was-in-tears-your-memories-of-movies-joy-and-community-at-the-castro-theatre","title":"'Everyone Was in Tears': Your Memories of Movies, Joy and Community at the Castro Theatre","publishDate":1660671130,"format":"standard","headTitle":"KQED News","labelTerm":{"site":"news"},"content":"\u003cp>There are big changes ahead for San Francisco’s legendary Castro Theatre.\u003c/p>\n\u003cp>Live music promoters \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Another Planet Entertainment have announced plans to renovate the venue\u003c/a>, part of which includes removing many of the theater’s iconic red velvet chairs. \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Read more about this complex saga from KQED Arts & Culture.\u003c/a>\u003c/p>\n\u003cp>Regardless of what the future holds, it’s the end of an era for the beloved Castro Theatre. So we wanted to create a space to highlight some of your memories.\u003c/p>\n\u003cp>We asked you: \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall#castrotheatre\">What was your most memorable experience at the Castro?\u003c/a> From first dates and childhood memories to unforgettable movies and an overwhelming sense of community, you delivered.\u003c/p>\n\u003cp>Read on for some of the stories you sent us. And if you didn't get the chance to share your own memories and you want to do so, you can still \u003ca href=\"#castrotheatre\">send us your thoughts on the Castro Theatre here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>These submissions have been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>Worked at the Castro from 1983-1986. Most memorable experience? \u003cstrong>Getting married on the mezzanine level in August 1986.\u003c/strong> Being broke, I approached my manager about getting married in the theater. He agreed as long as we were done before the Saturday matinee. — \u003cem>Linda Absher\u003c/em>\u003cspan style=\"font-weight: 400\">[aside postID=arts_13917362 hero='https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg']\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Hayao Miyazaki’s \"Spirited Away\" at the Castro was the most amazing movie experience of my life.\u003c/strong> The energy was incredible, and I remember how Japanese speakers were laughing before people reading the subtitles caught up. A representative of Studio Ghibli was there, I think it was \u003ca href=\"https://en.wikipedia.org/wiki/Toshio_Suzuki_(producer)\">[Toshio] Suzuki\u003c/a>, and I hope he went back and told Miyazaki how much the audience loved his film. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\"Fantasia,\" 1979. The organist played first, then the movie started, and my date brought out a joint!\u003c/strong> I had never tried marijuana before — I am sure that this \"altered\" my movie experience! — \u003cem>Anonymous \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922228\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg\" alt=\"Rows of red velvet seats in a dimmed theater.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I've spent so many nights at the Castro over the decades, but one of the most memorable was a screening of \"Milk.\" Cleve Jones was there along with others from the production and those who informed it. Those of us who remembered Harvey Milk were in the audience wondering whether the Sean Penn portrayal would fit.\u003c/p>\n\u003cp>Toward the end of the film, there was a scene showing the candlelight march after the assassination moving down Market St. from the Castro.\u003cstrong> Everyone in the theater was in tears. Including myself.\u003c/strong>\u003c/p>\n\u003cp>A room full of strangers together in that space, feeling the same emotions. The Castro Theatre was the center of our experience. \u003cstrong>It was a moment for our community and in our lives that I will never forget.\u003c/strong> — \u003cem>Fred Bove\u003c/em>\u003c/p>\n\u003cp>When the \"Blade Runner\" director's cut [1992] came out, I went alone to see it at the Castro. Rain was just starting when I went into the red-and-gold, well-loved, slightly shabby Art Deco interior. I'd seen the original release and a couple of video versions; this cut's subtle changes made it that much more enthralling.\u003c/p>\n\u003cp>My head full of neon and rain, and the Bradbury building where Roy and Pris met their ends, I walked out of the theater to find the sky opened and pouring, light and reflections everywhere, water coursing down my trench coat as I walked up Castro Street. \u003cstrong>My favorite moment of immersive cinema ever.\u003c/strong> — \u003cem>Alana Dill\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922667\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922667\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg\" alt=\"The frontage of the Castro Theatre, shot from a low angle below.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre in San Francisco's Castro District on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and '80s it was wondrous to sit in the Castro Theatre, enjoy the Art Deco artistry and listen to the organ player before the retro movies began. \u003cstrong>Most of all we relished the feeling of what it must have been like in gone-by eras. \u003c/strong>Seeing the stage intact below the screen, even though the stage was no longer used, allowed me to imagine what a burlesque hall must have felt like, and how audiences during the early days of film must have felt, experiencing the transition from burlesque to film entertainment.\u003c/p>\n\u003cp>In our current era we are transitioning yet again, but if we were to radically change the Castro Theatre we would never be able to truly preserve the full legacy of showbiz and we couldn’t physically relive its former eras. \u003cstrong>If the theater can’t be profitable, let’s establish a fund to subsidize it as we would any important museum or archive.\u003c/strong> — \u003cem>Marti Schoen\u003c/em>\u003c/p>\n\u003cp>Well. \u003cstrong>I don't remember which movie it was but I had sex in the balcony once, which I feel quite proud of now!\u003c/strong> Favorite movie experience was probably \"Wuthering Heights.\" And of course many rounds of Frameline. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922668\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg\" alt=\"The proscenium of the Castro Theatre, shot from below. The lighting is purple and gold.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a kid growing up in the Castro (born in 1944) my wife spent Saturday in the theater. Twenty cents to get in, a nickel for candy and two movies, newsreel, serial, cartoons. \u003cstrong>A day’s worth of entertainment. Family nights in the balcony. Lots of memories, all good.\u003c/strong> — \u003cem>Rose Shuck \u003c/em>\u003c/p>\n\u003cp>Highlight: \"Nights of Cabiria,\" the great Fellini movie, with a beautiful print, maybe eight years ago. \u003cstrong>The whole, packed-house audience almost held its breath at the ending.\u003c/strong>\u003c/p>\n\u003cp>Community moments: Lost Landscapes of San Francisco. The first \"BAHFest\" (Bad Ad Hoc Hypotheses) in a science festival. Realizing in an \"aha!\" moment that the Jewish Film Festival was where I would run into \u003cem>all\u003c/em> my Jewish acquaintances and friends if I attended enough shows. — \u003cem>David Grosof\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Watching \"Miracle on 34th Street\" with a sold-out crowd of movie lovers.\u003c/strong> The way everyone booed the evil company psychiatrist, then the place erupted in cheers when the bags of letters to Santa were poured out on the judge’s desk!\u003c/p>\n\u003cp>I have been to rock concerts and weddings and whatever else they are thinking this absolutely historic movie theater will be used for, and \u003cstrong>I have never experienced a thrill like it or a greater sense of shared joy.\u003c/strong> This place is the heart of a great community and if they tear it up it will be a travesty. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922669\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922669\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees pick up free sodas and popcorn before the town hall to discuss planned renovations at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first feature film I produced premiered at the Castro as part of the Frameline Film Festival. \u003cstrong>I will never forget my excitement as I watched the historic venue fill up with strangers coming to see my movie.\u003c/strong> My heart fills with joy thinking about it. — \u003cem>Ashley Hillis \u003c/em>\u003c/p>\n\u003cp>It was around 1992 and I had just begun a fiery relationship with a woman living in Oakland, while I was living in Berkeley. We met at the Castro Muni station and went to the theater to see the animated film version of \"Fritz the Cat,\" based on R. Crumb's comic strip.\u003c/p>\n\u003cp>\u003cstrong>It was my first time to the Castro Theatre and its breathtaking grandeur was matched by my ecstatic joy from having just fallen in love.\u003c/strong> Frankly, I remember almost nothing from the movie, but the way the theater was so romantic and such a conducive environment for us cuddling in our bliss is indelibly etched on my mind. That romance didn't last the summer, but even 30 years later I remember the magnificence of the Castro Theatre like it was yesterday. — \u003cem>Gifford Hartman \u003c/em>\u003c/p>\n\u003cp>Several years back, there was a minister in Oakland that announced the end of the world was on a certain upcoming date. Said date fell on the screening of George Cukor’s \"The Women\" at the Castro.\u003c/p>\n\u003cp>\u003cstrong>I thought to myself, \"If indeed it is the end of the world, I can think of no better place to be with my LGBT folk.\"\u003c/strong> — \u003cem>Carlos Chavarin\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922670\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922670\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group who identified themselves as queer youth from the Castro wear shirts that spell out 'Save the Seats' during a town hall meeting about planned renovations by Another Planet Entertainment at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your own thoughts\u003c/h2>\n\u003cp>[hearken id=\"9857\" src=\"https://modules.wearehearken.com/kqed/embed/9857.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"From memories of romances past to moments of togetherness in an iconic LGBTQ+ space, here are just a few of the stories you sent us about your favorite moviegoing experiences at the Castro Theatre.","status":"publish","parent":0,"modified":1660685352,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":30,"wordCount":1409},"headData":{"title":"'Everyone Was in Tears': Your Memories of Movies, Joy and Community at the Castro Theatre | KQED","description":"From memories of romances past to moments of togetherness in an iconic LGBTQ+ space, here are just a few of the stories you sent us about your favorite moviegoing experiences at the Castro Theatre.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Everyone Was in Tears': Your Memories of Movies, Joy and Community at the Castro Theatre","datePublished":"2022-08-16T17:32:10.000Z","dateModified":"2022-08-16T21:29:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11922643 https://ww2.kqed.org/news/?p=11922643","disqusUrl":"https://ww2.kqed.org/news/2022/08/16/everyone-was-in-tears-your-memories-of-movies-joy-and-community-at-the-castro-theatre/","disqusTitle":"'Everyone Was in Tears': Your Memories of Movies, Joy and Community at the Castro Theatre","excludeFromSiteSearch":"Include","path":"/news/11922643/everyone-was-in-tears-your-memories-of-movies-joy-and-community-at-the-castro-theatre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are big changes ahead for San Francisco’s legendary Castro Theatre.\u003c/p>\n\u003cp>Live music promoters \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Another Planet Entertainment have announced plans to renovate the venue\u003c/a>, part of which includes removing many of the theater’s iconic red velvet chairs. \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Read more about this complex saga from KQED Arts & Culture.\u003c/a>\u003c/p>\n\u003cp>Regardless of what the future holds, it’s the end of an era for the beloved Castro Theatre. So we wanted to create a space to highlight some of your memories.\u003c/p>\n\u003cp>We asked you: \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall#castrotheatre\">What was your most memorable experience at the Castro?\u003c/a> From first dates and childhood memories to unforgettable movies and an overwhelming sense of community, you delivered.\u003c/p>\n\u003cp>Read on for some of the stories you sent us. And if you didn't get the chance to share your own memories and you want to do so, you can still \u003ca href=\"#castrotheatre\">send us your thoughts on the Castro Theatre here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>These submissions have been lightly edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>Worked at the Castro from 1983-1986. Most memorable experience? \u003cstrong>Getting married on the mezzanine level in August 1986.\u003c/strong> Being broke, I approached my manager about getting married in the theater. He agreed as long as we were done before the Saturday matinee. — \u003cem>Linda Absher\u003c/em>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917362","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Hayao Miyazaki’s \"Spirited Away\" at the Castro was the most amazing movie experience of my life.\u003c/strong> The energy was incredible, and I remember how Japanese speakers were laughing before people reading the subtitles caught up. A representative of Studio Ghibli was there, I think it was \u003ca href=\"https://en.wikipedia.org/wiki/Toshio_Suzuki_(producer)\">[Toshio] Suzuki\u003c/a>, and I hope he went back and told Miyazaki how much the audience loved his film. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\"Fantasia,\" 1979. The organist played first, then the movie started, and my date brought out a joint!\u003c/strong> I had never tried marijuana before — I am sure that this \"altered\" my movie experience! — \u003cem>Anonymous \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922228\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922228\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg\" alt=\"Rows of red velvet seats in a dimmed theater.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/015_KQED_CastroTheatreInterior_08102022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I've spent so many nights at the Castro over the decades, but one of the most memorable was a screening of \"Milk.\" Cleve Jones was there along with others from the production and those who informed it. Those of us who remembered Harvey Milk were in the audience wondering whether the Sean Penn portrayal would fit.\u003c/p>\n\u003cp>Toward the end of the film, there was a scene showing the candlelight march after the assassination moving down Market St. from the Castro.\u003cstrong> Everyone in the theater was in tears. Including myself.\u003c/strong>\u003c/p>\n\u003cp>A room full of strangers together in that space, feeling the same emotions. The Castro Theatre was the center of our experience. \u003cstrong>It was a moment for our community and in our lives that I will never forget.\u003c/strong> — \u003cem>Fred Bove\u003c/em>\u003c/p>\n\u003cp>When the \"Blade Runner\" director's cut [1992] came out, I went alone to see it at the Castro. Rain was just starting when I went into the red-and-gold, well-loved, slightly shabby Art Deco interior. I'd seen the original release and a couple of video versions; this cut's subtle changes made it that much more enthralling.\u003c/p>\n\u003cp>My head full of neon and rain, and the Bradbury building where Roy and Pris met their ends, I walked out of the theater to find the sky opened and pouring, light and reflections everywhere, water coursing down my trench coat as I walked up Castro Street. \u003cstrong>My favorite moment of immersive cinema ever.\u003c/strong> — \u003cem>Alana Dill\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922667\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922667\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg\" alt=\"The frontage of the Castro Theatre, shot from a low angle below.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57446_003_KQEDArts_CastroTheatre_07282022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre in San Francisco's Castro District on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1970s and '80s it was wondrous to sit in the Castro Theatre, enjoy the Art Deco artistry and listen to the organ player before the retro movies began. \u003cstrong>Most of all we relished the feeling of what it must have been like in gone-by eras. \u003c/strong>Seeing the stage intact below the screen, even though the stage was no longer used, allowed me to imagine what a burlesque hall must have felt like, and how audiences during the early days of film must have felt, experiencing the transition from burlesque to film entertainment.\u003c/p>\n\u003cp>In our current era we are transitioning yet again, but if we were to radically change the Castro Theatre we would never be able to truly preserve the full legacy of showbiz and we couldn’t physically relive its former eras. \u003cstrong>If the theater can’t be profitable, let’s establish a fund to subsidize it as we would any important museum or archive.\u003c/strong> — \u003cem>Marti Schoen\u003c/em>\u003c/p>\n\u003cp>Well. \u003cstrong>I don't remember which movie it was but I had sex in the balcony once, which I feel quite proud of now!\u003c/strong> Favorite movie experience was probably \"Wuthering Heights.\" And of course many rounds of Frameline. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922668\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg\" alt=\"The proscenium of the Castro Theatre, shot from below. The lighting is purple and gold.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57670_014_KQED_CastroTheatreInterior_08102022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a kid growing up in the Castro (born in 1944) my wife spent Saturday in the theater. Twenty cents to get in, a nickel for candy and two movies, newsreel, serial, cartoons. \u003cstrong>A day’s worth of entertainment. Family nights in the balcony. Lots of memories, all good.\u003c/strong> — \u003cem>Rose Shuck \u003c/em>\u003c/p>\n\u003cp>Highlight: \"Nights of Cabiria,\" the great Fellini movie, with a beautiful print, maybe eight years ago. \u003cstrong>The whole, packed-house audience almost held its breath at the ending.\u003c/strong>\u003c/p>\n\u003cp>Community moments: Lost Landscapes of San Francisco. The first \"BAHFest\" (Bad Ad Hoc Hypotheses) in a science festival. Realizing in an \"aha!\" moment that the Jewish Film Festival was where I would run into \u003cem>all\u003c/em> my Jewish acquaintances and friends if I attended enough shows. — \u003cem>David Grosof\u003c/em>\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>\u003cstrong>Watching \"Miracle on 34th Street\" with a sold-out crowd of movie lovers.\u003c/strong> The way everyone booed the evil company psychiatrist, then the place erupted in cheers when the bags of letters to Santa were poured out on the judge’s desk!\u003c/p>\n\u003cp>I have been to rock concerts and weddings and whatever else they are thinking this absolutely historic movie theater will be used for, and \u003cstrong>I have never experienced a thrill like it or a greater sense of shared joy.\u003c/strong> This place is the heart of a great community and if they tear it up it will be a travesty. — \u003cem>Anonymous\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922669\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922669\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57731_013_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees pick up free sodas and popcorn before the town hall to discuss planned renovations at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first feature film I produced premiered at the Castro as part of the Frameline Film Festival. \u003cstrong>I will never forget my excitement as I watched the historic venue fill up with strangers coming to see my movie.\u003c/strong> My heart fills with joy thinking about it. — \u003cem>Ashley Hillis \u003c/em>\u003c/p>\n\u003cp>It was around 1992 and I had just begun a fiery relationship with a woman living in Oakland, while I was living in Berkeley. We met at the Castro Muni station and went to the theater to see the animated film version of \"Fritz the Cat,\" based on R. Crumb's comic strip.\u003c/p>\n\u003cp>\u003cstrong>It was my first time to the Castro Theatre and its breathtaking grandeur was matched by my ecstatic joy from having just fallen in love.\u003c/strong> Frankly, I remember almost nothing from the movie, but the way the theater was so romantic and such a conducive environment for us cuddling in our bliss is indelibly etched on my mind. That romance didn't last the summer, but even 30 years later I remember the magnificence of the Castro Theatre like it was yesterday. — \u003cem>Gifford Hartman \u003c/em>\u003c/p>\n\u003cp>Several years back, there was a minister in Oakland that announced the end of the world was on a certain upcoming date. Said date fell on the screening of George Cukor’s \"The Women\" at the Castro.\u003c/p>\n\u003cp>\u003cstrong>I thought to myself, \"If indeed it is the end of the world, I can think of no better place to be with my LGBT folk.\"\u003c/strong> — \u003cem>Carlos Chavarin\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11922670\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11922670\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/08/RS57764_039_KQED_CastroTheatreTownHall_08112022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A group who identified themselves as queer youth from the Castro wear shirts that spell out 'Save the Seats' during a town hall meeting about planned renovations by Another Planet Entertainment at the theater on Aug. 11, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your own thoughts\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"hearken","attributes":{"named":{"id":"9857","src":"https://modules.wearehearken.com/kqed/embed/9857.js","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11922643/everyone-was-in-tears-your-memories-of-movies-joy-and-community-at-the-castro-theatre","authors":["11530"],"categories":["news_29992","news_223","news_8"],"tags":["news_3252","news_31456","news_27626","news_17719","news_20004","news_701","news_38"],"featImg":"news_11922665","label":"news"},"news_11851912":{"type":"posts","id":"news_11851912","meta":{"index":"posts_1591205157","site":"news","id":"11851912","score":null,"sort":[1608327875000]},"guestAuthors":[],"slug":"the-best-san-francisco-movies-to-stream-this-holiday-season","title":"The Best San Francisco Movies to Stream This Holiday Season","publishDate":1608327875,"format":"image","headTitle":"The Best San Francisco Movies to Stream This Holiday Season | KQED","labelTerm":{},"content":"\u003cp>Bay Curious listener Ben Kaiser asked for our favorite movies that are filmed and set in San Francisco. While we don’t normally take on subjective questions, we figured with the pandemic keeping us all inside more these days, it was a great time to visit the Bay Area through film.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>We asked Peter Hartlaub, San Francisco Chronicle’s culture critic and #TotalSF podcast host, and Carly Severn, KQED’s senior engagement editor and resident movie obsessive, to share their top picks on a recent Bay Curious podcast episode. They shared the movies they would be most likely to sit down and watch over the holidays — not necessarily the most critically acclaimed films. Our audience to shared some of their favorites, too!\u003c/p>\n\u003ch1>Star Trek IV: The Voyage Home (1986)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=QOhoIBkOYf0\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0092007/\">IMDB\u003c/a>:\u003c/strong> “To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.” \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> This charming, lighthearted movie makes the Bay Area look undeniably fun. One KQED fan said the film was “influential in shaping how I think about the environment and is the Star Trek movie with the most heart in it.”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.7ab81ae2-2bce-70f6-2c72-f6ca03a9630d?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime \u003c/a>(Included in subscription), \u003ca href=\"https://www.youtube.com/watch?v=QOhoIBkOYf0\">YouTube\u003c/a> ($2.99), \u003ca href=\"https://pluto.tv/on-demand/movies/star-trek-iv-the-voyage-home-1986-1-1?utm_medium=textsearch&utm_source=google\">PlutoTV\u003c/a> (Free)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch1>Inside Out (2015)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yRUAzGQ3nSY\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt2096673/\">IMDB\u003c/a>:\u003c/strong> “After young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions — Joy, Fear, Anger, Disgust and Sadness — conflict on how best to navigate a new city, house, and school.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Pixar has dropped Bay Area references in several animated films over the years, but “Inside Out” takes it to the next level. The film takes place in the Bay Area, and features rich and detailed imagery from around the region. \u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://itunes.apple.com/us/movie/inside-out-2015/id999607190\">iTunes\u003c/a> ($3.99), \u003ca href=\"https://www.disneyplus.com/movies/inside-out/uzQ2ycVDi2IE\">Disney+\u003c/a> (included with Subscription), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.42a9f723-f04d-a048-5719-03e27dfc0d03?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> ($2.99), \u003ca href=\"https://www.youtube.com/watch?v=OOO1DF1xIH0\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>Zodiac (2007)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yNncHPl1UXg\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0443706/\">IMDB\u003c/a>:\u003c/strong> “In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “Second only to Alfred Hitchcock, director David Fincher has a great sensibility for San Francisco,” says Peter Hartlaub. “This film absolutely captures a place in time. The music choices, the visual cues, the production design. Nothing’s wasted. I was a little kid, and I remember hearing about the Zodiac killer, and this movie brought that back so well.”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"http://www.crackle.com/zodiac/2505707\">Crackle\u003c/a> (free), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.92b1c2b8-529a-d889-adf9-956b6e11c7a6?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in subscription), \u003ca href=\"https://www.youtube.com/watch?v=bj-jG8NoBug\">YouTube\u003c/a> ($2.99)\u003c/p>\n\u003ch1>The Last Black Man in San Francisco (2019)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=C0FnJDhY9-0\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt4353250/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A young man searches for home in the changing city that seems to have left him behind. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One of the few films on our list that is a commentary on the Bay Area, and how gentrification has decimated once vibrant Black neighborhoods. The cinematography will absolutely take your breath away. Pause the movie at any point and you might be inspired to hang the still image on your wall.\u003c/p>\n\u003cp>Where to watch: \u003ca href=\"https://www.youtube.com/watch?v=C0FnJDhY9-0\">YouTube\u003c/a> ($2.99), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.d0b57db9-b04e-b79e-d807-23228fa68c06?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in subscription)\u003c/p>\n\u003ch1>Basic Instinct (1992)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=4f96x3UpoaQ\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0103772/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “The plot is ludicrous … but it’s a romp. It’s a riot. It also looks way better than it needs to, and it sounds way better than it needs to,” says Carly Severn. “I love the way it uses San Francisco. It goes for all the classic shots — there’s North Beach, there’s Telegraph Hill.” You’ll also find lots of gorgeous helicopter shots in this one.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.netflix.com/watch/286139?source=35\">Netflix\u003c/a> (Included in subscription), \u003ca href=\"http://www.youtube.com/watch?v=G_etc0iQmvU\">YouTube\u003c/a> ($2.99), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.18a9f730-b962-79af-a611-474fb1963e42?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> ($2.99)\u003c/p>\n\u003ch1>Always Be My Maybe (2019)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=iHBcWHY9lN4\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt7374948/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder — maybe?\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “It makes San Francisco look really cool, but it also makes San Francisco look normal. A lot of it is set in the Outer Richmond,” says Carly Severn. “As a resident of the Bay Area there’s such a pleasure in looking at the screen and saying, ‘Oh, I know that! That’s cool!”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.netflix.com/watch/80202874?source=35\">Netflix\u003c/a> (included in subscription)\u003c/p>\n\u003ch1>Invasion of the Body Snatchers (1978)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>When strange seeds drift to earth from space, mysterious pods begin to grow and invade San Francisco, where they replicate the residents into emotionless automatons one body at a time. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “I think this is the most underrated San Francisco movie,” says Peter Hartlaub. “A lot of directors come in and they love San Francisco, but they shoot from the same seven places — Telegraph Hill, the Golden Gate Bridge, The Palace of Fine Arts. Director Philip Kaufman shot in places I think he always wanted to shoot — the Tenderloin is a huge character in the movie. Civic Center. Obscure places like Pier 70.”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?v=6Uv4-iJqLxQ\">YouTube\u003c/a> (Free), \u003ca href=\"https://www.hulu.com/movie/invasion-of-the-body-snatchers-d7796bd2-2184-4ca5-aaf1-6386fde7ca36?entity_id=d7796bd2-2184-4ca5-aaf1-6386fde7ca36\">Hulu\u003c/a> (included in premium subscription), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.c0b0a2b4-ce42-bacc-50f7-af56717c8c35?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in premium subscription)\u003c/p>\n\u003ch1>Vertigo (1958)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=Z5jvQwwHQNY\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> If you’re going to watch one movie set in San Francisco, a lot of critics would argue it should be this Alfred Hitchcock classic. The plot is woven into the location in a way that few movies can rival. And if you’re wanting to really *see* the city — this film is a hit parade of gorgeous locations. \u003c/p>\n\u003cp>\u003cstrong>Where to watch: \u003c/strong>\u003ca href=\"https://www.hulu.com/live-tv\">Hulu\u003c/a> (included in premium subscription), \u003ca href=\"https://www.peacocktv.com/sign-in?return=%2Fwatch%2Fasset%2Fmovies%2Fmystery-and-suspense%2Fvertigo%2F00cf0656-86a5-3aa5-8f2e-f3031546f937\">Peacock\u003c/a> (included in premium subscription), \u003ca href=\"https://www.youtube.com/watch?v=WrOKBmsOw7I\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>So I Married an Axe Murderer! (1993)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=yto08I_IiAg\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0108174/?ref_=nv_sr_srsg_0\">IMDB\u003c/a>:\u003c/strong> A San Francisco poet who fears commitment suspects his girlfriend may have a knack for killing off her significant others.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One KQED fan says it “captures something of the SF that I grew up in” and another calls this film “a love letter to SF.” It highlights many of the city’s most famous sights — like the Golden Gate Bridge to the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://pluto.tv/on-demand/movies/so-i-married-an-axe-murderer-1-1-ptv2?utm_medium=textsearch&utm_source=google\">PlutoTV\u003c/a> (Free), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e2a9f7b7-0005-82c2-0a27-88b3029c4932?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> ($2.99), \u003ca href=\"https://www.youtube.com/watch?v=yto08I_IiAg\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>Bullitt (1968)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=BsvD806qNM8\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0062765/?ref_=fn_al_tt_1\">IMDB:\u003c/a>\u003c/strong> An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Do we need to say much more than “epic car chase scenes on San Francisco hills?” This film features tons of on-location filming, so you’ll get a big taste of the city.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.amazon.com/Bullitt-Steve-McQueen/dp/B003DXSXCI/ref=sr_1_1?dchild=1&keywords=Bullitt&qid=1608322857&s=instant-video&sr=1-1\">Amazon Prime \u003c/a>($2.99), \u003ca href=\"https://www.youtube.com/watch?v=YkwSk4PA7Gw\">YouTube\u003c/a> ($3.99) \u003c/p>\n\u003ch1>Mrs. Doubtfire (1993)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=3euGQ7-brs4\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0107614/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> We couldn’t leave this film off the list. After all, it features one of the Bay Area’s most beloved celebrities, Robin Williams. After his death, the house featured in this film at 2640 Steiner St. became a pop-up memorial. You’ll spot everything from ordinary streets to iconic San Francisco locations throughout the film. \u003c/p>\n\u003cp>\u003cstrong>Where to watch: \u003c/strong>\u003ca href=\"https://www.hulu.com/movie/mrs-doubtfire-3bc601f2-eaa5-4368-88b7-6b2b87bb00fa?entity_id=3bc601f2-eaa5-4368-88b7-6b2b87bb00fa\">Hulu\u003c/a> (included with premium subscription), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.2ea9f7b1-3980-60a4-bb0f-37ba7cb6cedd?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in premium subscription), \u003ca href=\"https://www.youtube.com/watch?v=9yVJQf3LSiw\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>The Rock (1996)\u003c/h1>\n\u003cp>https://www.youtube.com/watch?v=6DWu_dT0Phc\u003c/p>\n\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0117500/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Much of the film was shot on in and around Alcatraz, a tall order given the production crew had to do it all while tour groups milled around the site of the former federal penitentiary. Other locations in the film include the Fairmont Hotel, San Francisco City Hall and Pier 39.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.94a9f74b-f216-084d-23a4-42bccf8c2f10?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime \u003c/a>($2.99), \u003ca href=\"https://www.youtube.com/watch?v=K3cfgGXBFvE\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003cp>These 12 films are still just the tip of the iceberg when it comes to great movies filmed in the Bay Area. Other audience favorites include: Chan Is Missing, The Conversation, Blindspotting, Sorry to Bother You, The Princess Diaries, Parrots of Telegraph Hill and La Mission. Find even more suggestions on these \u003ca href=\"https://twitter.com/KQEDnews/status/1336901456159444993\">two\u003c/a> \u003ca href=\"https://twitter.com/KQED/status/1336822068541734912\">Twitter\u003c/a> threads, and on \u003ca href=\"https://www.facebook.com/KQED/posts/10157640695916191\">KQED’s Facebook page. \u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A list of favorite films that show off the beauty and complexity of the Bay Area. ","status":"publish","parent":0,"modified":1700589118,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":42,"wordCount":1580},"headData":{"title":"The Best San Francisco Movies to Stream This Holiday Season | KQED","description":"A list of favorite films that show off the beauty and complexity of the Bay Area. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"The Best San Francisco Movies to Stream This Holiday Season","datePublished":"2020-12-18T21:44:35.000Z","dateModified":"2023-11-21T17:51:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7086586524.mp3","path":"/news/11851912/the-best-san-francisco-movies-to-stream-this-holiday-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Curious listener Ben Kaiser asked for our favorite movies that are filmed and set in San Francisco. While we don’t normally take on subjective questions, we figured with the pandemic keeping us all inside more these days, it was a great time to visit the Bay Area through film.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We asked Peter Hartlaub, San Francisco Chronicle’s culture critic and #TotalSF podcast host, and Carly Severn, KQED’s senior engagement editor and resident movie obsessive, to share their top picks on a recent Bay Curious podcast episode. They shared the movies they would be most likely to sit down and watch over the holidays — not necessarily the most critically acclaimed films. Our audience to shared some of their favorites, too!\u003c/p>\n\u003ch1>Star Trek IV: The Voyage Home (1986)\u003c/h1>\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/QOhoIBkOYf0'\n title='//www.youtube.com/embed/QOhoIBkOYf0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0092007/\">IMDB\u003c/a>:\u003c/strong> “To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.” \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> This charming, lighthearted movie makes the Bay Area look undeniably fun. One KQED fan said the film was “influential in shaping how I think about the environment and is the Star Trek movie with the most heart in it.”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.7ab81ae2-2bce-70f6-2c72-f6ca03a9630d?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime \u003c/a>(Included in subscription), \u003ca href=\"https://www.youtube.com/watch?v=QOhoIBkOYf0\">YouTube\u003c/a> ($2.99), \u003ca href=\"https://pluto.tv/on-demand/movies/star-trek-iv-the-voyage-home-1986-1-1?utm_medium=textsearch&utm_source=google\">PlutoTV\u003c/a> (Free)\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\u003ch1>Inside Out (2015)\u003c/h1>\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/yRUAzGQ3nSY'\n title='//www.youtube.com/embed/yRUAzGQ3nSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt2096673/\">IMDB\u003c/a>:\u003c/strong> “After young Riley is uprooted from her Midwest life and moved to San Francisco, her emotions — Joy, Fear, Anger, Disgust and Sadness — conflict on how best to navigate a new city, house, and school.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Pixar has dropped Bay Area references in several animated films over the years, but “Inside Out” takes it to the next level. The film takes place in the Bay Area, and features rich and detailed imagery from around the region. \u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://itunes.apple.com/us/movie/inside-out-2015/id999607190\">iTunes\u003c/a> ($3.99), \u003ca href=\"https://www.disneyplus.com/movies/inside-out/uzQ2ycVDi2IE\">Disney+\u003c/a> (included with Subscription), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.42a9f723-f04d-a048-5719-03e27dfc0d03?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> ($2.99), \u003ca href=\"https://www.youtube.com/watch?v=OOO1DF1xIH0\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>Zodiac (2007)\u003c/h1>\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/yNncHPl1UXg'\n title='//www.youtube.com/embed/yNncHPl1UXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0443706/\">IMDB\u003c/a>:\u003c/strong> “In the late 1960s/early 1970s, a San Francisco cartoonist becomes an amateur detective obsessed with tracking down the Zodiac Killer, an unidentified individual who terrorizes Northern California with a killing spree.”\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “Second only to Alfred Hitchcock, director David Fincher has a great sensibility for San Francisco,” says Peter Hartlaub. “This film absolutely captures a place in time. The music choices, the visual cues, the production design. Nothing’s wasted. I was a little kid, and I remember hearing about the Zodiac killer, and this movie brought that back so well.”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"http://www.crackle.com/zodiac/2505707\">Crackle\u003c/a> (free), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.92b1c2b8-529a-d889-adf9-956b6e11c7a6?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in subscription), \u003ca href=\"https://www.youtube.com/watch?v=bj-jG8NoBug\">YouTube\u003c/a> ($2.99)\u003c/p>\n\u003ch1>The Last Black Man in San Francisco (2019)\u003c/h1>\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/C0FnJDhY9-0'\n title='//www.youtube.com/embed/C0FnJDhY9-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt4353250/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A young man searches for home in the changing city that seems to have left him behind. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One of the few films on our list that is a commentary on the Bay Area, and how gentrification has decimated once vibrant Black neighborhoods. The cinematography will absolutely take your breath away. Pause the movie at any point and you might be inspired to hang the still image on your wall.\u003c/p>\n\u003cp>Where to watch: \u003ca href=\"https://www.youtube.com/watch?v=C0FnJDhY9-0\">YouTube\u003c/a> ($2.99), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.d0b57db9-b04e-b79e-d807-23228fa68c06?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in subscription)\u003c/p>\n\u003ch1>Basic Instinct (1992)\u003c/h1>\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/4f96x3UpoaQ'\n title='//www.youtube.com/embed/4f96x3UpoaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0103772/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “The plot is ludicrous … but it’s a romp. It’s a riot. It also looks way better than it needs to, and it sounds way better than it needs to,” says Carly Severn. “I love the way it uses San Francisco. It goes for all the classic shots — there’s North Beach, there’s Telegraph Hill.” You’ll also find lots of gorgeous helicopter shots in this one.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.netflix.com/watch/286139?source=35\">Netflix\u003c/a> (Included in subscription), \u003ca href=\"http://www.youtube.com/watch?v=G_etc0iQmvU\">YouTube\u003c/a> ($2.99), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.18a9f730-b962-79af-a611-474fb1963e42?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> ($2.99)\u003c/p>\n\u003ch1>Always Be My Maybe (2019)\u003c/h1>\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/iHBcWHY9lN4'\n title='//www.youtube.com/embed/iHBcWHY9lN4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt7374948/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> Everyone assumed Sasha and Marcus would wind up together except for Sasha and Marcus. Reconnecting after 15 years, the two start to wonder — maybe?\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “It makes San Francisco look really cool, but it also makes San Francisco look normal. A lot of it is set in the Outer Richmond,” says Carly Severn. “As a resident of the Bay Area there’s such a pleasure in looking at the screen and saying, ‘Oh, I know that! That’s cool!”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.netflix.com/watch/80202874?source=35\">Netflix\u003c/a> (included in subscription)\u003c/p>\n\u003ch1>Invasion of the Body Snatchers (1978)\u003c/h1>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>When strange seeds drift to earth from space, mysterious pods begin to grow and invade San Francisco, where they replicate the residents into emotionless automatons one body at a time. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> “I think this is the most underrated San Francisco movie,” says Peter Hartlaub. “A lot of directors come in and they love San Francisco, but they shoot from the same seven places — Telegraph Hill, the Golden Gate Bridge, The Palace of Fine Arts. Director Philip Kaufman shot in places I think he always wanted to shoot — the Tenderloin is a huge character in the movie. Civic Center. Obscure places like Pier 70.”\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?v=6Uv4-iJqLxQ\">YouTube\u003c/a> (Free), \u003ca href=\"https://www.hulu.com/movie/invasion-of-the-body-snatchers-d7796bd2-2184-4ca5-aaf1-6386fde7ca36?entity_id=d7796bd2-2184-4ca5-aaf1-6386fde7ca36\">Hulu\u003c/a> (included in premium subscription), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.c0b0a2b4-ce42-bacc-50f7-af56717c8c35?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in premium subscription)\u003c/p>\n\u003ch1>Vertigo (1958)\u003c/h1>\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/Z5jvQwwHQNY'\n title='//www.youtube.com/embed/Z5jvQwwHQNY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0052357/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A former police detective juggles wrestling with his personal demons and becoming obsessed with a hauntingly beautiful woman.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> If you’re going to watch one movie set in San Francisco, a lot of critics would argue it should be this Alfred Hitchcock classic. The plot is woven into the location in a way that few movies can rival. And if you’re wanting to really *see* the city — this film is a hit parade of gorgeous locations. \u003c/p>\n\u003cp>\u003cstrong>Where to watch: \u003c/strong>\u003ca href=\"https://www.hulu.com/live-tv\">Hulu\u003c/a> (included in premium subscription), \u003ca href=\"https://www.peacocktv.com/sign-in?return=%2Fwatch%2Fasset%2Fmovies%2Fmystery-and-suspense%2Fvertigo%2F00cf0656-86a5-3aa5-8f2e-f3031546f937\">Peacock\u003c/a> (included in premium subscription), \u003ca href=\"https://www.youtube.com/watch?v=WrOKBmsOw7I\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>So I Married an Axe Murderer! (1993)\u003c/h1>\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/yto08I_IiAg'\n title='//www.youtube.com/embed/yto08I_IiAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0108174/?ref_=nv_sr_srsg_0\">IMDB\u003c/a>:\u003c/strong> A San Francisco poet who fears commitment suspects his girlfriend may have a knack for killing off her significant others.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> One KQED fan says it “captures something of the SF that I grew up in” and another calls this film “a love letter to SF.” It highlights many of the city’s most famous sights — like the Golden Gate Bridge to the Palace of Fine Arts and Alcatraz.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://pluto.tv/on-demand/movies/so-i-married-an-axe-murderer-1-1-ptv2?utm_medium=textsearch&utm_source=google\">PlutoTV\u003c/a> (Free), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.e2a9f7b7-0005-82c2-0a27-88b3029c4932?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> ($2.99), \u003ca href=\"https://www.youtube.com/watch?v=yto08I_IiAg\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>Bullitt (1968)\u003c/h1>\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/BsvD806qNM8'\n title='//www.youtube.com/embed/BsvD806qNM8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0062765/?ref_=fn_al_tt_1\">IMDB:\u003c/a>\u003c/strong> An all guts, no glory San Francisco cop becomes determined to find the underworld kingpin that killed the witness in his protection.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Do we need to say much more than “epic car chase scenes on San Francisco hills?” This film features tons of on-location filming, so you’ll get a big taste of the city.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.amazon.com/Bullitt-Steve-McQueen/dp/B003DXSXCI/ref=sr_1_1?dchild=1&keywords=Bullitt&qid=1608322857&s=instant-video&sr=1-1\">Amazon Prime \u003c/a>($2.99), \u003ca href=\"https://www.youtube.com/watch?v=YkwSk4PA7Gw\">YouTube\u003c/a> ($3.99) \u003c/p>\n\u003ch1>Mrs. Doubtfire (1993)\u003c/h1>\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/3euGQ7-brs4'\n title='//www.youtube.com/embed/3euGQ7-brs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0107614/?ref_=fn_al_tt_1\">IMDB\u003c/a>: \u003c/strong>After a bitter divorce, an actor disguises himself as a female housekeeper to spend time with his children held in custody by his former wife.\u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> We couldn’t leave this film off the list. After all, it features one of the Bay Area’s most beloved celebrities, Robin Williams. After his death, the house featured in this film at 2640 Steiner St. became a pop-up memorial. You’ll spot everything from ordinary streets to iconic San Francisco locations throughout the film. \u003c/p>\n\u003cp>\u003cstrong>Where to watch: \u003c/strong>\u003ca href=\"https://www.hulu.com/movie/mrs-doubtfire-3bc601f2-eaa5-4368-88b7-6b2b87bb00fa?entity_id=3bc601f2-eaa5-4368-88b7-6b2b87bb00fa\">Hulu\u003c/a> (included with premium subscription), \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.2ea9f7b1-3980-60a4-bb0f-37ba7cb6cedd?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime\u003c/a> (included in premium subscription), \u003ca href=\"https://www.youtube.com/watch?v=9yVJQf3LSiw\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003ch1>The Rock (1996)\u003c/h1>\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/6DWu_dT0Phc'\n title='//www.youtube.com/embed/6DWu_dT0Phc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Plot summary from \u003ca href=\"https://www.imdb.com/title/tt0117500/?ref_=fn_al_tt_1\">IMDB\u003c/a>:\u003c/strong> A mild-mannered chemist and an ex-con must lead the counterstrike when a rogue group of military men, led by a renegade general, threaten a nerve gas attack from Alcatraz against San Francisco. \u003c/p>\n\u003cp>\u003cstrong>Why we love it:\u003c/strong> Much of the film was shot on in and around Alcatraz, a tall order given the production crew had to do it all while tour groups milled around the site of the former federal penitentiary. Other locations in the film include the Fairmont Hotel, San Francisco City Hall and Pier 39.\u003c/p>\n\u003cp>\u003cstrong>Where to watch:\u003c/strong> \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.94a9f74b-f216-084d-23a4-42bccf8c2f10?autoplay=1&ref_=atv_cf_strg_wb\">Amazon Prime \u003c/a>($2.99), \u003ca href=\"https://www.youtube.com/watch?v=K3cfgGXBFvE\">YouTube\u003c/a> ($3.99)\u003c/p>\n\u003cp>These 12 films are still just the tip of the iceberg when it comes to great movies filmed in the Bay Area. Other audience favorites include: Chan Is Missing, The Conversation, Blindspotting, Sorry to Bother You, The Princess Diaries, Parrots of Telegraph Hill and La Mission. Find even more suggestions on these \u003ca href=\"https://twitter.com/KQEDnews/status/1336901456159444993\">two\u003c/a> \u003ca href=\"https://twitter.com/KQED/status/1336822068541734912\">Twitter\u003c/a> threads, and on \u003ca href=\"https://www.facebook.com/KQED/posts/10157640695916191\">KQED’s Facebook page. \u003c/a>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11851912/the-best-san-francisco-movies-to-stream-this-holiday-season","authors":["102"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_17719","news_26702","news_701"],"featImg":"news_11851984","label":"source_news_11851912"},"news_11830978":{"type":"posts","id":"news_11830978","meta":{"index":"posts_1591205157","site":"news","id":"11830978","score":null,"sort":[1596238160000]},"guestAuthors":[],"slug":"a-lot-of-trust-was-lost-what-losing-its-only-hospital-meant-to-an-east-bay-community","title":"'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community","publishDate":1596238160,"format":"audio","headTitle":"The California Report Magazine | KQED News","labelTerm":{},"content":"\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/trulyca/3185/bay-area-hospital-closure-impacted-explored-in-documentary-the-desert\" target=\"_blank\" rel=\"noopener noreferrer\">“The Desert”\u003c/a>, a documentary film recently released as part of \u003ca href=\"https://www.kqed.org/trulyca\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Truly CA\u003c/a> series, looks at the ripple effects in a community after a hospital closes. Doctors Medical Center operated for 60 years, serving western Contra Costa County from its location in San Pablo, north of Richmond in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When it \u003ca href=\"https://www.kqed.org/stateofhealth/24993/san-pablos-doctors-medical-center-to-close-tuesday\">closed in 2015\u003c/a>, after failing to bridge a stubborn $18-20 million annual deficit, it left nearly 250,000 mostly low-income residents more than a half-hour drive away from the closest hospital.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"#film\">The film\u003c/a> was produced and directed by Bo Kovitz, who spoke with The California Report Magazine. Interview excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11830990\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11830990\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Kovitz produced and directed 'The Desert' as her thesis film while at UC Berkeley's Graduate School of Journalism. \u003ccite>(Courtesy of Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On what inspired her to make the film\u003c/strong>\u003c/h3>\n\u003cp>I had gone to a public forum about the planned closure of Alta Bates Summit Medical Center in South Berkeley. And there was a lot of discussion at the time about how we would lose another emergency room on a critical corridor of the Bay Area. There was reference to a hospital that had already closed in Richmond. It was sort of glossed over. It really piqued my interest.\u003c/p>\n\u003cp>We really take for granted this idea that we all have a hospital in our neighborhood. I thought, what does it look like to live in a community where there isn't a hospital? I approached this wanting to hear from the doctors, the frontline workers, the patients, about what the tragedy was. They were never quite heard. And I wanted them to drive this story. I wanted them to be the storytellers.\u003c/p>\n\u003cp>I felt that the reporting and the knowledge around the closure of Doctors Medical Center was never really in the hands of the people who were living and breathing the impacts of what happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>\u003cstrong>On following patients who must plan a whole day around a hospital visit\u003c/strong>\u003c/h3>\n\u003cp>I think there's been a lot of focus about the loss of (Doctors Medical Center) through the prism of emergency services and not having an emergency room in West Contra Costa County. But there's another enormous deficit, which is specialty care.\u003c/p>\n\u003cp>There was a cancer center at Doctors Medical Center. Epigmenio Mayo and Angelica Lopez are a couple, both battling cancer. At the time the film was shot, they regularly made a trip where they would take three different buses to get to the county hospital in Martinez, where both of them were receiving cancer treatment. For them, this trip is an absolute necessity, but it's something that they have to plan their entire day around. They are winded by the time they even show up to their appointments.\u003c/p>\n\u003cp>By the end of the film, the sun is already set. It's a full day trip. They've talked a lot about how there's no other option. As they say in the film, they prepare their minds and bodies for the trip because they know they have to take it. This is how they survive.\u003c/p>\n\u003cfigure id=\"attachment_11830987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11830987 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Epigmenio Mayo and Angelica Lopez ride three buses to get to the hospital for their cancer treatment. \u003ccite>(Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On the urgent care clinic now across the street from the former Doctors Medical Center site\u003c/strong>\u003c/h3>\n\u003cp>They're serving the same population with just a quarter of the staff.\u003c/p>\n\u003cp>People like Millie Callen worked at Doctors Medical Center for more than a decade. She was one of the coordinators in the E.R., which is one of the most important roles. She's making sure that everything's moving smoothly, bringing people in, bouncing them to their doctors, making sure their insurance is covered.\u003c/p>\n\u003cp>Even before the hospital closed, Millie was caring for her own loved ones and understood the before and after of what it's like to lose a hospital. Her mother has a heart condition. The urgent care where Millie now works is much busier with the spike of COVID-19 cases.\u003c/p>\n\u003cfigure id=\"attachment_11831438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy.jpg\">\u003cimg class=\"size-medium wp-image-11831438\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millie Callen worked at Doctors Medical Center, and now works at the urgent care clinic across the street from the former hospital site. \u003ccite>(Courtesy of Bo Kovits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a while, they were one of the few locations that were doing COVID-19 testing. Not only are they answering a lot of patients needing primary care, but they are also dealing with an additional load of patients who were experiencing or showing symptoms of COVID-19. And then there's that added stress of how do we sequester that person away from the rest of our patients? They had set up a tent in the back parking lot and they were running back and forth.\u003c/p>\n\u003ch3>\u003cstrong>On the firefighters and paramedics she follows in the film\u003c/strong>\u003c/h3>\n\u003cp>There isn't a Richmond paramedic company. There's no West Contra Costa County paramedic company. So the firefighters take on the role of being the first to arrive on scene. Firefighters can get on scene, but they're limited in what they can do because in certain advanced or complicated cases, the ambulance and the paramedics are the ones who need to show up and then transport the person and have specialty training.\u003c/p>\n\u003cp>There are times of the day where highways are really, really congested. Wait times for the paramedics to show up can be up to 30 minutes depending on the day. And then those paramedics are often forced to transport patients outside the city or county for care.\u003c/p>\n\u003cfigure id=\"attachment_11831441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide.jpg\">\u003cimg class=\"size-medium wp-image-11831441\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-1020x534.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-1536x804.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trevor Rogers and his fellow firefighters often care for critically ill patients — many of their calls are for health care emergencies, not fires.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the paramedics that I had the opportunity to film with is Aimee Skaggs, and she has been in the community for years. She was around when Doctors Medical Center was there and brought a lot of patients there.\u003c/p>\n\u003cp>Aimee describes something that I think is unique to low income communities where 911 calls are really treated as primary care. Emergency responders are the ones who essentially are doing triage on the spot. They are having to navigate so many different layers of what it means to make the best decision for a patient.\u003c/p>\n\u003cp>It's more than just 'what's the closest hospital?' It's 'what makes the most financial sense? Where is going to be the closest place that the family can come without it being a hassle?' And in cases where the issue is something really time-sensitive, paramedics like Aimee have to bring in another dimension to the decision making: how to get them somewhere fast when highways are clogged.\u003c/p>\n\u003cp>Some hospitals may not take them. Where do they go that is not going to also leave the patient riddled with hospital bills in the aftermath? [pullquote size=\"medium\" align=\"right\" citation=\"— Trevor Rogers, firefighter medic\"]'If we happen to have three calls and there are three critical patients that need critical care, now you have three ambulances that are outside of our city… And that essentially depletes the city of our resources.'[/pullquote]\u003c/p>\n\u003ch3>\u003cstrong>On how hospital closures are playing out throughout the state\u003c/strong>\u003c/h3>\n\u003cp>There are more hospital closures that are happening in California. They're mostly in rural communities.\u003c/p>\n\u003cp>I think the closure of Doctors Medical Center represents an accelerating trend in urban communities. Regions that are concentrated areas for Medi-Cal, Medicare or uninsured patients are losing hospitals because hospitals and ERs are trying to consolidate in urban centers where there are more privately insured patients.\u003c/p>\n\u003ch3>\u003cstrong>On the burden of shouldering COVID-19 patients now that the hospital has closed\u003c/strong>\u003c/h3>\n\u003cp>Right now, Bay Area hospitals haven't been overwhelmed so far with COVID-19 cases — which is lucky. But if things were to get really over the top, I think people will wish Doctors Medical Center was there. There's definitely concern about capacity. There's also a concern that many people — especially those with chronic illnesses like diabetes, hypertension or asthma — may not be getting seen for illnesses that need to be managed right now.\u003c/p>\n\u003cp>We may never know how many people are in West Contra Costa County who may have died, who did not seek emergency care or did not seek health care, because they were afraid of being exposed to COVID-19.\u003c/p>\n\u003cp>When Doctors Medical Center closed, a lot of trust was lost among the community. A community that has historically been marginalized from the health care system now feels further marginalized because they lost a resource. They lost an institution that represented a lot of trust in the system.\u003c/p>\n\u003cp>I spoke about this with the ambulatory director at the county hospital in Martinez, Dr. Gabriela Sullivan. She says that health care is often left with the job of trying to plug all these holes that are in the social fabric of our country. And that if we are trying to leave social issues on the doorstep of health care, that's a recipe for failure. A lot of people in the years leading up to the hospital closure said it will take a public health crisis of extreme proportions to reveal how essential Doctors Medical Center and other safety net hospitals are.\u003c/p>\n\u003cp>I think with this pandemic, it's not just that Black and brown communities are dying and are more impacted. There's also going to be a downstream increase of morbidity and mortality for years to come. There is a real worry that they're holding back the dams right now in terms of acute care. The realities of the disparity are going to last far beyond this pandemic.\u003c/p>\n\u003cp>\u003cem>\u003ca id=\"film\">\u003c/a>Watch the full documentary here:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1bjKcfSmVxU\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"'The Desert' documentary reveals the physical and mental ripple effects on West Contra Costa County when Doctors Medical Center, the only hospital for 15 miles, shut down in 2015.","status":"publish","parent":0,"modified":1596242628,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1635},"headData":{"title":"'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community | KQED","description":"'The Desert' documentary reveals the physical and mental ripple effects on West Contra Costa County when Doctors Medical Center, the only hospital for 15 miles, shut down in 2015.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community","datePublished":"2020-07-31T23:29:20.000Z","dateModified":"2020-08-01T00:43:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11830978 https://ww2.kqed.org/news/?p=11830978","disqusUrl":"https://ww2.kqed.org/news/2020/07/31/a-lot-of-trust-was-lost-what-losing-its-only-hospital-meant-to-an-east-bay-community/","disqusTitle":"'A Lot of Trust Was Lost': What Losing its Only Hospital Meant to an East Bay Community","source":"The California Report Magazine","sourceUrl":"https://www.kqed.org/californiareportmagazine","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/0191ebca-b5ef-4428-8b7b-ac09016e7433/audio.mp3","path":"/news/11830978/a-lot-of-trust-was-lost-what-losing-its-only-hospital-meant-to-an-east-bay-community","audioDuration":654000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/trulyca/3185/bay-area-hospital-closure-impacted-explored-in-documentary-the-desert\" target=\"_blank\" rel=\"noopener noreferrer\">“The Desert”\u003c/a>, a documentary film recently released as part of \u003ca href=\"https://www.kqed.org/trulyca\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s Truly CA\u003c/a> series, looks at the ripple effects in a community after a hospital closes. Doctors Medical Center operated for 60 years, serving western Contra Costa County from its location in San Pablo, north of Richmond in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When it \u003ca href=\"https://www.kqed.org/stateofhealth/24993/san-pablos-doctors-medical-center-to-close-tuesday\">closed in 2015\u003c/a>, after failing to bridge a stubborn $18-20 million annual deficit, it left nearly 250,000 mostly low-income residents more than a half-hour drive away from the closest hospital.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"#film\">The film\u003c/a> was produced and directed by Bo Kovitz, who spoke with The California Report Magazine. Interview excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11830990\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11830990\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44121_Kovitz_Headshot-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Kovitz produced and directed 'The Desert' as her thesis film while at UC Berkeley's Graduate School of Journalism. \u003ccite>(Courtesy of Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On what inspired her to make the film\u003c/strong>\u003c/h3>\n\u003cp>I had gone to a public forum about the planned closure of Alta Bates Summit Medical Center in South Berkeley. And there was a lot of discussion at the time about how we would lose another emergency room on a critical corridor of the Bay Area. There was reference to a hospital that had already closed in Richmond. It was sort of glossed over. It really piqued my interest.\u003c/p>\n\u003cp>We really take for granted this idea that we all have a hospital in our neighborhood. I thought, what does it look like to live in a community where there isn't a hospital? I approached this wanting to hear from the doctors, the frontline workers, the patients, about what the tragedy was. They were never quite heard. And I wanted them to drive this story. I wanted them to be the storytellers.\u003c/p>\n\u003cp>I felt that the reporting and the knowledge around the closure of Doctors Medical Center was never really in the hands of the people who were living and breathing the impacts of what happened.\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\u003ch3>\u003cstrong>On following patients who must plan a whole day around a hospital visit\u003c/strong>\u003c/h3>\n\u003cp>I think there's been a lot of focus about the loss of (Doctors Medical Center) through the prism of emergency services and not having an emergency room in West Contra Costa County. But there's another enormous deficit, which is specialty care.\u003c/p>\n\u003cp>There was a cancer center at Doctors Medical Center. Epigmenio Mayo and Angelica Lopez are a couple, both battling cancer. At the time the film was shot, they regularly made a trip where they would take three different buses to get to the county hospital in Martinez, where both of them were receiving cancer treatment. For them, this trip is an absolute necessity, but it's something that they have to plan their entire day around. They are winded by the time they even show up to their appointments.\u003c/p>\n\u003cp>By the end of the film, the sun is already set. It's a full day trip. They've talked a lot about how there's no other option. As they say in the film, they prepare their minds and bodies for the trip because they know they have to take it. This is how they survive.\u003c/p>\n\u003cfigure id=\"attachment_11830987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11830987 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS44118_desert_03-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Epigmenio Mayo and Angelica Lopez ride three buses to get to the hospital for their cancer treatment. \u003ccite>(Bo Kovitz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On the urgent care clinic now across the street from the former Doctors Medical Center site\u003c/strong>\u003c/h3>\n\u003cp>They're serving the same population with just a quarter of the staff.\u003c/p>\n\u003cp>People like Millie Callen worked at Doctors Medical Center for more than a decade. She was one of the coordinators in the E.R., which is one of the most important roles. She's making sure that everything's moving smoothly, bringing people in, bouncing them to their doctors, making sure their insurance is covered.\u003c/p>\n\u003cp>Even before the hospital closed, Millie was caring for her own loved ones and understood the before and after of what it's like to lose a hospital. Her mother has a heart condition. The urgent care where Millie now works is much busier with the spike of COVID-19 cases.\u003c/p>\n\u003cfigure id=\"attachment_11831438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy.jpg\">\u003cimg class=\"size-medium wp-image-11831438\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_still_06-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Millie Callen worked at Doctors Medical Center, and now works at the urgent care clinic across the street from the former hospital site. \u003ccite>(Courtesy of Bo Kovits)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a while, they were one of the few locations that were doing COVID-19 testing. Not only are they answering a lot of patients needing primary care, but they are also dealing with an additional load of patients who were experiencing or showing symptoms of COVID-19. And then there's that added stress of how do we sequester that person away from the rest of our patients? They had set up a tent in the back parking lot and they were running back and forth.\u003c/p>\n\u003ch3>\u003cstrong>On the firefighters and paramedics she follows in the film\u003c/strong>\u003c/h3>\n\u003cp>There isn't a Richmond paramedic company. There's no West Contra Costa County paramedic company. So the firefighters take on the role of being the first to arrive on scene. Firefighters can get on scene, but they're limited in what they can do because in certain advanced or complicated cases, the ambulance and the paramedics are the ones who need to show up and then transport the person and have specialty training.\u003c/p>\n\u003cp>There are times of the day where highways are really, really congested. Wait times for the paramedics to show up can be up to 30 minutes depending on the day. And then those paramedics are often forced to transport patients outside the city or county for care.\u003c/p>\n\u003cfigure id=\"attachment_11831441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide.jpg\">\u003cimg class=\"size-medium wp-image-11831441\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-800x419.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-1020x534.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-160x84.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide-1536x804.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/07/desert_04-wide.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trevor Rogers and his fellow firefighters often care for critically ill patients — many of their calls are for health care emergencies, not fires.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the paramedics that I had the opportunity to film with is Aimee Skaggs, and she has been in the community for years. She was around when Doctors Medical Center was there and brought a lot of patients there.\u003c/p>\n\u003cp>Aimee describes something that I think is unique to low income communities where 911 calls are really treated as primary care. Emergency responders are the ones who essentially are doing triage on the spot. They are having to navigate so many different layers of what it means to make the best decision for a patient.\u003c/p>\n\u003cp>It's more than just 'what's the closest hospital?' It's 'what makes the most financial sense? Where is going to be the closest place that the family can come without it being a hassle?' And in cases where the issue is something really time-sensitive, paramedics like Aimee have to bring in another dimension to the decision making: how to get them somewhere fast when highways are clogged.\u003c/p>\n\u003cp>Some hospitals may not take them. Where do they go that is not going to also leave the patient riddled with hospital bills in the aftermath? \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'If we happen to have three calls and there are three critical patients that need critical care, now you have three ambulances that are outside of our city… And that essentially depletes the city of our resources.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"— Trevor Rogers, firefighter medic","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>\u003cstrong>On how hospital closures are playing out throughout the state\u003c/strong>\u003c/h3>\n\u003cp>There are more hospital closures that are happening in California. They're mostly in rural communities.\u003c/p>\n\u003cp>I think the closure of Doctors Medical Center represents an accelerating trend in urban communities. Regions that are concentrated areas for Medi-Cal, Medicare or uninsured patients are losing hospitals because hospitals and ERs are trying to consolidate in urban centers where there are more privately insured patients.\u003c/p>\n\u003ch3>\u003cstrong>On the burden of shouldering COVID-19 patients now that the hospital has closed\u003c/strong>\u003c/h3>\n\u003cp>Right now, Bay Area hospitals haven't been overwhelmed so far with COVID-19 cases — which is lucky. But if things were to get really over the top, I think people will wish Doctors Medical Center was there. There's definitely concern about capacity. There's also a concern that many people — especially those with chronic illnesses like diabetes, hypertension or asthma — may not be getting seen for illnesses that need to be managed right now.\u003c/p>\n\u003cp>We may never know how many people are in West Contra Costa County who may have died, who did not seek emergency care or did not seek health care, because they were afraid of being exposed to COVID-19.\u003c/p>\n\u003cp>When Doctors Medical Center closed, a lot of trust was lost among the community. A community that has historically been marginalized from the health care system now feels further marginalized because they lost a resource. They lost an institution that represented a lot of trust in the system.\u003c/p>\n\u003cp>I spoke about this with the ambulatory director at the county hospital in Martinez, Dr. Gabriela Sullivan. She says that health care is often left with the job of trying to plug all these holes that are in the social fabric of our country. And that if we are trying to leave social issues on the doorstep of health care, that's a recipe for failure. A lot of people in the years leading up to the hospital closure said it will take a public health crisis of extreme proportions to reveal how essential Doctors Medical Center and other safety net hospitals are.\u003c/p>\n\u003cp>I think with this pandemic, it's not just that Black and brown communities are dying and are more impacted. There's also going to be a downstream increase of morbidity and mortality for years to come. There is a real worry that they're holding back the dams right now in terms of acute care. The realities of the disparity are going to last far beyond this pandemic.\u003c/p>\n\u003cp>\u003cem>\u003ca id=\"film\">\u003c/a>Watch the full documentary here:\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/1bjKcfSmVxU'\n title='//www.youtube.com/embed/1bjKcfSmVxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11830978/a-lot-of-trust-was-lost-what-losing-its-only-hospital-meant-to-an-east-bay-community","authors":["11660"],"programs":["news_26731"],"categories":["news_457","news_8"],"tags":["news_1467","news_6908","news_17731","news_17719","news_28324","news_28326","news_579","news_23011","news_28322","news_28325","news_28323","news_28327"],"featImg":"news_11831437","label":"source_news_11830978"},"arts_13874634":{"type":"posts","id":"arts_13874634","meta":{"index":"posts_1591205157","site":"arts","id":"13874634","score":null,"sort":[1581350862000]},"guestAuthors":[],"slug":"at-the-oscars-parasite-makes-best-picture-history","title":"At The Oscars, 'Parasite' Makes Best Picture History","publishDate":1581350862,"format":"standard","headTitle":"At The Oscars, ‘Parasite’ Makes Best Picture History | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Bong Joon-ho's film about families, class and keeping secrets won best picture. It's the first time a film in a language other than English has won the top prize.","status":"publish","parent":0,"modified":1705021326,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1465},"headData":{"title":"At The Oscars, 'Parasite' Makes Best Picture History | KQED","description":"Bong Joon-ho's film about families, class and keeping secrets won best picture. It's the first time a film in a language other than English has won the top prize.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At The Oscars, 'Parasite' Makes Best Picture History","datePublished":"2020-02-10T16:07:42.000Z","dateModified":"2024-01-12T01:02:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Kevin Winter","nprByline":"Linda Holmes","nprImageAgency":"Getty Images","nprStoryId":"804373857","nprApiLink":"http://api.npr.org/query?id=804373857&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/02/10/804373857/at-the-oscars-parasite-makes-best-picture-history?ft=nprml&f=804373857","nprRetrievedStory":"1","nprPubDate":"Mon, 10 Feb 2020 10:57:00 -0500","nprStoryDate":"Mon, 10 Feb 2020 00:34:00 -0500","nprLastModifiedDate":"Mon, 10 Feb 2020 10:57:00 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13874634/at-the-oscars-parasite-makes-best-picture-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\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>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\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>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874634/at-the-oscars-parasite-makes-best-picture-history","authors":["byline_arts_13874634"],"categories":["arts_74","arts_235","arts_75","arts_990"],"tags":["arts_3701","arts_9943","arts_1118","arts_977","arts_3698"],"affiliates":["arts_137"],"featImg":"arts_13874637","label":"arts_137"},"arts_13874349":{"type":"posts","id":"arts_13874349","meta":{"index":"posts_1591205157","site":"arts","id":"13874349","score":null,"sort":[1580857633000]},"guestAuthors":[],"slug":"shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian","title":"Shapeshifters Cinema and Brewery Promises Art Film Refuge in an Oakland Victorian","publishDate":1580857633,"format":"standard","headTitle":"Shapeshifters Cinema and Brewery Promises Art Film Refuge in an Oakland Victorian | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n","blocks":[],"excerpt":"The team behind the Shapeshifters film series plots a microcinema and nanobrewery.","status":"publish","parent":0,"modified":1705021362,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":1026},"headData":{"title":"Shapeshifters Cinema and Brewery Promises Art Film Refuge in an Oakland Victorian | KQED","description":"The team behind the Shapeshifters film series plots a microcinema and nanobrewery.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shapeshifters Cinema and Brewery Promises Art Film Refuge in an Oakland Victorian","datePublished":"2020-02-04T23:07:13.000Z","dateModified":"2024-01-12T01:02:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874349/shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\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>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874349/shapeshifters-cinema-and-brewery-promises-art-film-refuge-in-an-oakland-victorian","authors":["11091"],"categories":["arts_1","arts_835","arts_74","arts_235","arts_70"],"tags":["arts_6216","arts_5053","arts_1118","arts_977","arts_746","arts_596","arts_1143","arts_9882","arts_9879"],"featImg":"arts_13874350","label":"arts"},"arts_13873582":{"type":"posts","id":"arts_13873582","meta":{"index":"posts_1591205157","site":"arts","id":"13873582","score":null,"sort":[1579711059000]},"guestAuthors":[],"slug":"new-leadership-for-sffilm","title":"New Leadership for SFFILM","publishDate":1579711059,"format":"audio","headTitle":"New Leadership for SFFILM | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFFILM\u003c/a>, the non-profit which oversees the annual San Francisco International Film Festival, has appointed a new leader.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0481666/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Lai\u003c/a>‘s resume is packed with high-profile Hollywood projects. She served as director Ridley Scott’s assistant on the big-budget spectacular \u003cem>Gladiator\u003c/em> starring Russell Crowe. She also worked as a \u003cspan style=\"font-weight: 400\">development executive \u003c/span>on other Scott projects, like \u003cem>Hannibal\u003c/em> and \u003cem>Black Hawk Down\u003c/em>.\u003c/p>\n\u003cp>But she’s spent the past 12 years at the Sundance Institute, nurturing emerging filmmakers in her role as director of creative producing and artist support.\u003c/p>\n\u003cp>“I love that San Francisco is home to many wonderful filmmakers, and having that base is a fundamental strength in growing a next generation of artists,” said Lai, responding to KQED’s questions via email. “There are lots of ideas to explore—within existing programs and potential new ones. One avenue I particularly believe in is creating connections and opportunities for artists to mentor each other, and generally be a sounding board for each other as they navigate creative, career, and strategic paths forward. I think that this type of relationship building can have a big impact on sustaining a career in filmmaking.”\u003c/p>\n\u003cp>Some of Lai’s projects to date have included local Bay Area talent, like Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> and Joe Talbot’s \u003cem>The Last Black Man in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Filmmakers are at the center of our work, no matter if you’re talking about our youth education, artist development, or exhibition programs—and Anne has an excellent track record for championing important storytellers throughout her career,” said Rachel Rosen, SFFILM’s director of Programming, who plans to leave the organization after 20 years of service this summer to pursue consulting. “Her clear dedication to artists is going to plug in perfectly to our work in making sure important films are made, seen, and appreciated. She loves film and believes in its future, and that’s going to be a great match for our passionate audiences and the Bay Area arts community at large.”\u003c/p>\n\u003cp>Lai, who’s 48, was born and raised in Dayton, Ohio. She studied at the University of Michigan, and received a film production degree from the University of Southern California.\u003c/p>\n\u003cp>“Anne has supported all of our artists in a robust and meaningful continuum of support throughout the year,” said Michelle Satter, the founding director of the Sundance Institute’s Feature Film Program. “She has made an indelible and extraordinary contribution to the work of the Institute, especially in the creation of our work supporting producers and the field and the many filmmakers who got their films made with her insights, connections and creative and tactical feedback.”\u003c/p>\n\u003cp>Lai’s appointment comes approximately 10 months after former SFFILM executive director Noah Cowan unexpectedly resigned. (A spokesperson for SFFILM said Cowan is currently running a consultancy for film organizations and distribution agencies in Los Angeles.)\u003c/p>\n\u003cp>The organization has experienced a lot of change at the top in recent years. Prior to Cowan, SFFILM churned through four other executive directors in as many years.\u003c/p>\n\u003cp>Lai said the recent instability of SFFILM’s leadership isn’t a reflection of the organization as a whole.\u003c/p>\n\u003cp>“The overall organization, which includes the festival as well as its artist development and education programs, has been remarkably steady and strong, which I attribute to its tremendous staff and board,” Lai said. “I can only speak to my own intent, which is a huge desire to create a stable and healthy environment for SFFILM to continue to thrive.”\u003c/p>\n\u003cp>The San Francisco International Film Festival was founded in 1957 and is one of the country’s longest running annual movie gatherings.\u003c/p>\n\u003cp>Other Bay Area film organizations are excited about Lai’s arrival. “We congratulate SFFILM on selecting Anne to lead this important and vital San Francisco film institution,” said Stephen Gong, executive director of the \u003ca href=\"https://caamedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Asian American Media\u003c/a>. “We know Anne from her great work at the Sundance Institute and look forward to working with her to strengthen the Bay Area film community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lai is scheduled to start her new role in March, just in time for this year’s San Francisco International Film Festival, running April 8–21.\u003c/p>\n\n","blocks":[],"excerpt":"Anne Lai's resume is packed with high-profile Hollywood projects, but she's spent the past 12 years nurturing emerging filmmaking talent.","status":"publish","parent":0,"modified":1705021450,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":741},"headData":{"title":"New Leadership for SFFILM | KQED","description":"Anne Lai's resume is packed with high-profile Hollywood projects, but she's spent the past 12 years nurturing emerging filmmaking talent.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Leadership for SFFILM","datePublished":"2020-01-22T16:37:39.000Z","dateModified":"2024-01-12T01:04:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/SFInternationalFilmFestivalAppointsNewLeader.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13873582/new-leadership-for-sffilm","audioDuration":54000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFFILM\u003c/a>, the non-profit which oversees the annual San Francisco International Film Festival, has appointed a new leader.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0481666/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Lai\u003c/a>‘s resume is packed with high-profile Hollywood projects. She served as director Ridley Scott’s assistant on the big-budget spectacular \u003cem>Gladiator\u003c/em> starring Russell Crowe. She also worked as a \u003cspan style=\"font-weight: 400\">development executive \u003c/span>on other Scott projects, like \u003cem>Hannibal\u003c/em> and \u003cem>Black Hawk Down\u003c/em>.\u003c/p>\n\u003cp>But she’s spent the past 12 years at the Sundance Institute, nurturing emerging filmmakers in her role as director of creative producing and artist support.\u003c/p>\n\u003cp>“I love that San Francisco is home to many wonderful filmmakers, and having that base is a fundamental strength in growing a next generation of artists,” said Lai, responding to KQED’s questions via email. “There are lots of ideas to explore—within existing programs and potential new ones. One avenue I particularly believe in is creating connections and opportunities for artists to mentor each other, and generally be a sounding board for each other as they navigate creative, career, and strategic paths forward. I think that this type of relationship building can have a big impact on sustaining a career in filmmaking.”\u003c/p>\n\u003cp>Some of Lai’s projects to date have included local Bay Area talent, like Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> and Joe Talbot’s \u003cem>The Last Black Man in San Francisco.\u003c/em>\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>“Filmmakers are at the center of our work, no matter if you’re talking about our youth education, artist development, or exhibition programs—and Anne has an excellent track record for championing important storytellers throughout her career,” said Rachel Rosen, SFFILM’s director of Programming, who plans to leave the organization after 20 years of service this summer to pursue consulting. “Her clear dedication to artists is going to plug in perfectly to our work in making sure important films are made, seen, and appreciated. She loves film and believes in its future, and that’s going to be a great match for our passionate audiences and the Bay Area arts community at large.”\u003c/p>\n\u003cp>Lai, who’s 48, was born and raised in Dayton, Ohio. She studied at the University of Michigan, and received a film production degree from the University of Southern California.\u003c/p>\n\u003cp>“Anne has supported all of our artists in a robust and meaningful continuum of support throughout the year,” said Michelle Satter, the founding director of the Sundance Institute’s Feature Film Program. “She has made an indelible and extraordinary contribution to the work of the Institute, especially in the creation of our work supporting producers and the field and the many filmmakers who got their films made with her insights, connections and creative and tactical feedback.”\u003c/p>\n\u003cp>Lai’s appointment comes approximately 10 months after former SFFILM executive director Noah Cowan unexpectedly resigned. (A spokesperson for SFFILM said Cowan is currently running a consultancy for film organizations and distribution agencies in Los Angeles.)\u003c/p>\n\u003cp>The organization has experienced a lot of change at the top in recent years. Prior to Cowan, SFFILM churned through four other executive directors in as many years.\u003c/p>\n\u003cp>Lai said the recent instability of SFFILM’s leadership isn’t a reflection of the organization as a whole.\u003c/p>\n\u003cp>“The overall organization, which includes the festival as well as its artist development and education programs, has been remarkably steady and strong, which I attribute to its tremendous staff and board,” Lai said. “I can only speak to my own intent, which is a huge desire to create a stable and healthy environment for SFFILM to continue to thrive.”\u003c/p>\n\u003cp>The San Francisco International Film Festival was founded in 1957 and is one of the country’s longest running annual movie gatherings.\u003c/p>\n\u003cp>Other Bay Area film organizations are excited about Lai’s arrival. “We congratulate SFFILM on selecting Anne to lead this important and vital San Francisco film institution,” said Stephen Gong, executive director of the \u003ca href=\"https://caamedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Asian American Media\u003c/a>. “We know Anne from her great work at the Sundance Institute and look forward to working with her to strengthen the Bay Area film community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lai is scheduled to start her new role in March, just in time for this year’s San Francisco International Film Festival, running April 8–21.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873582/new-leadership-for-sffilm","authors":["8608"],"programs":["arts_1272"],"categories":["arts_1","arts_74","arts_235"],"tags":["arts_3772"],"featImg":"arts_13873589","label":"arts_1272"},"news_11796351":{"type":"posts","id":"news_11796351","meta":{"index":"posts_1591205157","site":"news","id":"11796351","score":null,"sort":[1579359925000]},"guestAuthors":[],"slug":"heat-the-ultimate-l-a-movie-the-ultimate-obsession","title":"'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession","publishDate":1579359925,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back in 2018, I heard about a guy in Australia called Blake Howard — for the reason that he loved the same movie as me. A \u003cem>lot\u003c/em>.\u003c/p>\n\u003cp>The movie was Michael Mann’s 1995 crime thriller \u003ca href=\"https://www.imdb.com/title/tt0113277/\">\"Heat\"\u003c/a>. Yet unlike me, Howard loved it so much that he was obsessively making a podcast series analyzing the film one minute at a time, episode by episode — all 170 minutes of it. The podcast was called \u003ca href=\"https://oneheatminute.com/podcast\">\"One Heat Minute\u003c/a>\".\u003c/p>\n\u003cfigure id=\"attachment_11796549\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796549\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-1020x679.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard at the 2019 Sydney Film Festival \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theringer.com/2017/1/11/16043060/star-wars-minute-movies-by-minute-podcast-microculture-trend-7c45069cdb60\">Minute-by-minute movie podcasts\u003c/a> are nothing new, but I was so intrigued by Howard’s professional dedication to \"Heat,\" of all movies, that I \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">interviewed him in Sept., 2018\u003c/a>. We talked about both becoming obsessed with \"Heat\" as impressionable teens, podcasting’s ability to create community around extremely niche interests, and his wild fantasy that his cinematic idol, \"Heat\" director Mann, would one day be on \"One Heat Minute.\" We laughed about the sheer implausibility of that last idea, and I wrote up \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">our conversation\u003c/a> as a story about sincerity and obsession.\u003c/p>\n\u003cp>Now, at the end of his quest two years after he first started, \"One Heat Minute\" has spawned a \u003ca href=\"https://twitter.com/search?q=%23OneHeatMinute&src=typed_query\">hyper-enthusiastic online fan base\u003c/a>, been named in \"Vulture’s\" \u003ca href=\"https://www.vulture.com/article/best-podcasts.html\">100 Great Podcasts\u003c/a>, been \u003ca href=\"https://twitter.com/realgdt/status/1143695297891176448?s=21\">hailed by movie luminaries like Guillermo del Toro\u003c/a>, and welcomed its final guest... Michael Mann.\u003c/p>\n\u003cp>So now, \u003cem>this\u003c/em> is a story about sincerity, obsession and what happens when the usual gulf between famous creators and fandom gets unexpectedly obliterated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>'Clinically Obsessed'\u003c/h3>\n\u003cp>Even if you haven’t seen \"Heat,\" trust me: you probably still \u003cem>know\u003c/em> \"Heat.\" De Niro as a meticulous L.A. bank robber planning the heist of a lifetime, Al Pacino as a volatile cop consumed by taking him down — with a supporting cast stuffed with '90s A-listers from Val Kilmer and Tom Sizemore to Ashley Judd and Natalie Portman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>\"Heat\" is also loud, bombastic and drips with machismo, and even a lifelong superfan like me can giggle at the riper portions of its dialogue (“For me, the action \u003cem>is\u003c/em> the juice!”) — or roll my eyes a little at how much less drawn the female roles (wives, girlfriends) seem in comparison to their male counterparts. Pacino's performance is infamously brash, and makes a lot more sense when you find out his character was \u003ca href=\"https://news.avclub.com/al-pacino-finally-admits-his-heat-character-was-high-on-1798251639\">meant to be high on cocaine\u003c/a>.\u003c/p>\n\u003cp>Yet as a portrait of a dark, dangerous L.A., and two men obsessed with their professions to the exclusion of all else in life, \"Heat\" radiates an unusual kind of ennui not often found in action movies. Its major themes are loss and loneliness, and moments such as Pacino’s confession to his soon-to-be-ex-wife — “All I have is what I’m going after” — take Mann’s movie to far more melancholic places than most thrillers. Added to its two iconic leads, this at least partly explains why \"Heat\" has developed something of a cult following in the quarter century since it was released.\u003c/p>\n\u003cp>Part of that following since he first saw it? Blake Howard. He describes himself as becoming “clinically obsessed with movies” in his youth, thanks in part to an older brother who worked in a video warehouse and would bring back the VHS spoils for Howard’s consumption. Among those videotapes was \"Heat.\"\u003c/p>\n\u003cfigure id=\"attachment_11796548\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796548\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg\" alt=\"\" width=\"1920\" height=\"1212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-1020x644.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Blake Howard with sister Skye and brother Karn - the provider of his VHS collection. \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though it’s regarded as one of the quintessential Los Angeles movies, the version of the city a young Howard saw in this movie — the lonely industrial landscapes, the car culture, the endless roads — was one he hadn’t seen before. It was one that in many ways reminded him of his native Sydney. “This sprawling place... [that] felt so \u003cem>dilapidated\u003c/em>,” he says, “like it was empty.” And as Howard grew older he found \"Heat\" assuming a place in his life as a kind of cinematic life companion, welded to him by “existential and philosophical underpinnings that kind of enriched every viewing.”\u003c/p>\n\u003cp>Of all the movies in the world, a melancholy '90s crime thriller about obsession and alienation, set thousands of miles away, wouldn’t let him go. “I never could satiate the itch to continue talking about it,” he says — even as he became a part time movie critic himself.\u003c/p>\n\u003cfigure id=\"attachment_11796572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796572\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Al Pacino in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why in 2017, Howard was affectionately goaded by fellow critic Stu Coote into realizing his dream to “just f****** talk about \"Heat\" every day” — and starting the \"One Heat Minute\" podcast. It was, Howard says, “the ultimate way to tackle and wrestle with this movie.”\u003c/p>\n\u003ch3>'This Is \u003cem>One Heat Minute\u003c/em>'\u003c/h3>\n\u003cp>Initially skeptical that anyone outside of his personal circle of movie critic buddies would be into it, Howard drew from them for his first guests. The first 14 episodes were recorded in a single day, with all the same people, and the production values were low.\u003c/p>\n\u003cp>But remember: \u003cem>a lot of people really like\u003c/em> \"Heat.\" By the time I first spoke with him in 2018, Howard’s monomaniacal, homespun podcast had begun to draw listening numbers in the thousands — and his guest list had moved into the heavy-hitters. Critics like \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-89manohladargis\">Manohla Dargis\u003c/a> of the New York Times, \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-147\">Matt Zoller Sietz\u003c/a> of RoberEbert.com: all showing up, over Skype, to hear Howard intone \"This is 'One Heat Minute'\" and talk enthusiastically about nothing but \"Heat\" for well over an hour each.\u003c/p>\n\u003cfigure id=\"attachment_11796786\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png\" alt=\"\" width=\"1900\" height=\"1163\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-160x98.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-800x490.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-1020x624.png 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the \"Heat\" minutes progressed, and his podcast episodes climbed over 100, Howard started scoring guests who’d actually been involved in \u003cem>making\u003c/em> the movie. Like legendary cinematographer \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-100\">Dante Spinotti\u003c/a>, who’d created those shots that Howard had grown up imprinting on his brain, and editor \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-bonuspasqualebuba\">Pasquale “Pat” Buba\u003c/a>, who appeared on \"One Heat Minute\" before his death in September 2018. \u003c/p>\n\u003cp>“I was thrilled every single week to talk to every new person or sometimes repeat guests,” says Howard, “because they were just so great.”\u003c/p>\n\u003cp>After our first chat for KQED, I even joined Howard’s band of fanatics on \"One Heat Minute\" myself. That’s me on \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-148\">Episode 148\u003c/a> discussing the intricate progressions of Robert De Niro’s facial expressions. Coming off the Skype call with Howard, feeling almost drunk on the pleasures of discussing the minute details of a movie with which I’d been intimate since my teens, I was overwhelmed by how good such shared monomania could feel. I finally understood why he’d been able to secure so many guests.\u003c/p>\n\u003ch3>'All I Have is What I'm Going After'\u003c/h3>\n\u003cp>There was still that unfathomable dream in the back of Howard’s mind: scoring Michael Mann himself.\u003c/p>\n\u003cfigure id=\"attachment_11796575\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg\" alt=\"\" width=\"1900\" height=\"1410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-1020x757.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Director Michael Mann at the 2016 Academy Awards \u003ccite>( Jason Merritt / Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea that the award-winning director who made the movie that defined Howard’s entire life would even answer the phone — let alone sit down for an hour of taped conversation — still seemed crazy. Except for the fact that one of his \"One Heat Minute\" guests, \"Vulture\" critic Bilge Ebiri was on good terms with Mann — and was determined to lobby him on Howard’s behalf.\u003c/p>\n\u003cp>“I said ‘Even if he just knows about it, it would be great,’” says Howard. “But [Ebiri] is like ‘No: he's not only got to know about it, I'm going to tell him he has to do the show.”\u003c/p>\n\u003cp>Which is how, after much back-and-forth with the relevant representatives, on Episode 167, Michael Mann finally became Howard’s last \"One Heat Minute\" guest.\u003c/p>\n\u003ch3>'Very Flattered That You're Doing This'\u003c/h3>\n\u003cp>Were you nervous, I ask Howard? Knowing you had an hour with the man who’d made the movie that’s become the primary text of your life?\u003c/p>\n\u003cp>“In the \u003cem>before\u003c/em> moment, I was nervous,” he says. “I was mildly freaking out. But when we started talking I don't think I've ever been more confident in any interview that I've ever undertaken.”\u003c/p>\n\u003cp>“I was,” he reminds me, “the most prepared person to ever have a conversation about 'Heat' to Michael Mann.”\u003c/p>\n\u003cfigure id=\"attachment_11796573\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796573\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg\" alt=\"\" width=\"1900\" height=\"1277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-1020x686.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Val Kilmer in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you yourself \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-finale\">listen to the episode\u003c/a>, what will you hear? A famously obsessive filmmaker discussing his own movie \u003cem>about\u003c/em> obsessive men, with the guy who’s so obsessed with it that he’s based over 150 podcast episodes on it.\u003c/p>\n\u003cp>“I’m very flattered that you’re doing this,” are Mann’s first words in his episode, and you can hear the grin in his voice. When Howard asks about the director’s decision to appear on the podcast, the director explains that the whole endeavor \"sounded completely insane in a totally wonderful way.\"\u003c/p>\n\u003cp>On the subject of his work and his intentions, Mann is a serious, sincere interviewee who employs terms like “contrapuntal” when describing his cinematic output. “His recall for a movie that was made in 1995 and the character motivations and things that he'd had in mind for how that would look was just unbelievable,” notes Howard.\u003c/p>\n\u003cp>https://twitter.com/michaelmann/status/1147591432917487616?s=21\u003c/p>\n\u003cp>Yet in conversation, Mann’s sheer enthusiasm for movies, often overlooked amid his professional reputation as an extreme perfectionist, is also given free rein. Reminiscing about filming that powerful final \"Heat\" minute, where Pacino and De Niro’s characters face off in LAX and only one survives, Mann is uncharacteristically effusive: “It felt like ‘man, I don’t want to be anywhere else on Planet Earth at this moment in time but this set, making this movie.’”\u003c/p>\n\u003cp>In terms of dedication and enthusiasm, the award-winning longtime Hollywood director suddenly sounded a lot... like Howard himself.\u003c/p>\n\u003ch3>'Our Little Campfire'\u003c/h3>\n\u003cp>“I compliment your obsessions,” Mann told Howard in a message recorded for a \"One Heat Minute\" live show at the 2019 Sydney Film Festival.\u003c/p>\n\u003cp>“And from one of the most fastidious and obsessive filmmakers that has ever walked the face of the Earth to compliment your obsessions? That's pretty special,” says Howard. But after all that, where does obsession \u003cem>go\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796552\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png\" alt=\"\" width=\"1500\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-160x115.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-800x576.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-1020x734.png 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard, appropriately dressed in Val Kilmer \"Heat\" t-shirt \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the conclusion of \"One Heat Minute,\" Howard is making even more podcasts about movies, including \"All the President’s Men\" (\"All the Presidents Minutes\") and Mann’s own \"Last of the Mohicans\" (\"The Last Twelve Minutes of the Mohicans\").\u003c/p>\n\u003cp>Yet \"One Heat Minute\" remains the fan project that a lot of people in Hollywood now know about. “For my name to be now synonymous with this movie is probably one of my greatest ever accomplishments” says Howard.\u003c/p>\n\u003cp>https://twitter.com/realgdt/status/1143695297891176448?s=21\u003c/p>\n\u003cp>“Podcasts themselves are little campfires that you can sort of huddle around,” Howard says. “Hopefully our little campfire has brought a lot of people... joy following along.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"One man's fascination with a 1995 crime thriller led to almost 200 podcast episodes, and a most unexpected cinema encounter.","status":"publish","parent":0,"modified":1579311147,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1959},"headData":{"title":"'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession | KQED","description":"One man's fascination with a 1995 crime thriller led to almost 200 podcast episodes, and a most unexpected cinema encounter.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession","datePublished":"2020-01-18T15:05:25.000Z","dateModified":"2020-01-18T01:32:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11796351 https://ww2.kqed.org/news/?p=11796351","disqusUrl":"https://ww2.kqed.org/news/2020/01/18/heat-the-ultimate-l-a-movie-the-ultimate-obsession/","disqusTitle":"'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2020/01/SevernOneHeatMinute.mp3","audioTrackLength":483,"path":"/news/11796351/heat-the-ultimate-l-a-movie-the-ultimate-obsession","audioDuration":483000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back in 2018, I heard about a guy in Australia called Blake Howard — for the reason that he loved the same movie as me. A \u003cem>lot\u003c/em>.\u003c/p>\n\u003cp>The movie was Michael Mann’s 1995 crime thriller \u003ca href=\"https://www.imdb.com/title/tt0113277/\">\"Heat\"\u003c/a>. Yet unlike me, Howard loved it so much that he was obsessively making a podcast series analyzing the film one minute at a time, episode by episode — all 170 minutes of it. The podcast was called \u003ca href=\"https://oneheatminute.com/podcast\">\"One Heat Minute\u003c/a>\".\u003c/p>\n\u003cfigure id=\"attachment_11796549\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796549\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-1020x679.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard at the 2019 Sydney Film Festival \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theringer.com/2017/1/11/16043060/star-wars-minute-movies-by-minute-podcast-microculture-trend-7c45069cdb60\">Minute-by-minute movie podcasts\u003c/a> are nothing new, but I was so intrigued by Howard’s professional dedication to \"Heat,\" of all movies, that I \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">interviewed him in Sept., 2018\u003c/a>. We talked about both becoming obsessed with \"Heat\" as impressionable teens, podcasting’s ability to create community around extremely niche interests, and his wild fantasy that his cinematic idol, \"Heat\" director Mann, would one day be on \"One Heat Minute.\" We laughed about the sheer implausibility of that last idea, and I wrote up \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">our conversation\u003c/a> as a story about sincerity and obsession.\u003c/p>\n\u003cp>Now, at the end of his quest two years after he first started, \"One Heat Minute\" has spawned a \u003ca href=\"https://twitter.com/search?q=%23OneHeatMinute&src=typed_query\">hyper-enthusiastic online fan base\u003c/a>, been named in \"Vulture’s\" \u003ca href=\"https://www.vulture.com/article/best-podcasts.html\">100 Great Podcasts\u003c/a>, been \u003ca href=\"https://twitter.com/realgdt/status/1143695297891176448?s=21\">hailed by movie luminaries like Guillermo del Toro\u003c/a>, and welcomed its final guest... Michael Mann.\u003c/p>\n\u003cp>So now, \u003cem>this\u003c/em> is a story about sincerity, obsession and what happens when the usual gulf between famous creators and fandom gets unexpectedly obliterated.\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\u003ch3>'Clinically Obsessed'\u003c/h3>\n\u003cp>Even if you haven’t seen \"Heat,\" trust me: you probably still \u003cem>know\u003c/em> \"Heat.\" De Niro as a meticulous L.A. bank robber planning the heist of a lifetime, Al Pacino as a volatile cop consumed by taking him down — with a supporting cast stuffed with '90s A-listers from Val Kilmer and Tom Sizemore to Ashley Judd and Natalie Portman.\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/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Heat\" is also loud, bombastic and drips with machismo, and even a lifelong superfan like me can giggle at the riper portions of its dialogue (“For me, the action \u003cem>is\u003c/em> the juice!”) — or roll my eyes a little at how much less drawn the female roles (wives, girlfriends) seem in comparison to their male counterparts. Pacino's performance is infamously brash, and makes a lot more sense when you find out his character was \u003ca href=\"https://news.avclub.com/al-pacino-finally-admits-his-heat-character-was-high-on-1798251639\">meant to be high on cocaine\u003c/a>.\u003c/p>\n\u003cp>Yet as a portrait of a dark, dangerous L.A., and two men obsessed with their professions to the exclusion of all else in life, \"Heat\" radiates an unusual kind of ennui not often found in action movies. Its major themes are loss and loneliness, and moments such as Pacino’s confession to his soon-to-be-ex-wife — “All I have is what I’m going after” — take Mann’s movie to far more melancholic places than most thrillers. Added to its two iconic leads, this at least partly explains why \"Heat\" has developed something of a cult following in the quarter century since it was released.\u003c/p>\n\u003cp>Part of that following since he first saw it? Blake Howard. He describes himself as becoming “clinically obsessed with movies” in his youth, thanks in part to an older brother who worked in a video warehouse and would bring back the VHS spoils for Howard’s consumption. Among those videotapes was \"Heat.\"\u003c/p>\n\u003cfigure id=\"attachment_11796548\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796548\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg\" alt=\"\" width=\"1920\" height=\"1212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-1020x644.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Blake Howard with sister Skye and brother Karn - the provider of his VHS collection. \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though it’s regarded as one of the quintessential Los Angeles movies, the version of the city a young Howard saw in this movie — the lonely industrial landscapes, the car culture, the endless roads — was one he hadn’t seen before. It was one that in many ways reminded him of his native Sydney. “This sprawling place... [that] felt so \u003cem>dilapidated\u003c/em>,” he says, “like it was empty.” And as Howard grew older he found \"Heat\" assuming a place in his life as a kind of cinematic life companion, welded to him by “existential and philosophical underpinnings that kind of enriched every viewing.”\u003c/p>\n\u003cp>Of all the movies in the world, a melancholy '90s crime thriller about obsession and alienation, set thousands of miles away, wouldn’t let him go. “I never could satiate the itch to continue talking about it,” he says — even as he became a part time movie critic himself.\u003c/p>\n\u003cfigure id=\"attachment_11796572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796572\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Al Pacino in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why in 2017, Howard was affectionately goaded by fellow critic Stu Coote into realizing his dream to “just f****** talk about \"Heat\" every day” — and starting the \"One Heat Minute\" podcast. It was, Howard says, “the ultimate way to tackle and wrestle with this movie.”\u003c/p>\n\u003ch3>'This Is \u003cem>One Heat Minute\u003c/em>'\u003c/h3>\n\u003cp>Initially skeptical that anyone outside of his personal circle of movie critic buddies would be into it, Howard drew from them for his first guests. The first 14 episodes were recorded in a single day, with all the same people, and the production values were low.\u003c/p>\n\u003cp>But remember: \u003cem>a lot of people really like\u003c/em> \"Heat.\" By the time I first spoke with him in 2018, Howard’s monomaniacal, homespun podcast had begun to draw listening numbers in the thousands — and his guest list had moved into the heavy-hitters. Critics like \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-89manohladargis\">Manohla Dargis\u003c/a> of the New York Times, \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-147\">Matt Zoller Sietz\u003c/a> of RoberEbert.com: all showing up, over Skype, to hear Howard intone \"This is 'One Heat Minute'\" and talk enthusiastically about nothing but \"Heat\" for well over an hour each.\u003c/p>\n\u003cfigure id=\"attachment_11796786\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png\" alt=\"\" width=\"1900\" height=\"1163\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-160x98.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-800x490.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-1020x624.png 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the \"Heat\" minutes progressed, and his podcast episodes climbed over 100, Howard started scoring guests who’d actually been involved in \u003cem>making\u003c/em> the movie. Like legendary cinematographer \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-100\">Dante Spinotti\u003c/a>, who’d created those shots that Howard had grown up imprinting on his brain, and editor \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-bonuspasqualebuba\">Pasquale “Pat” Buba\u003c/a>, who appeared on \"One Heat Minute\" before his death in September 2018. \u003c/p>\n\u003cp>“I was thrilled every single week to talk to every new person or sometimes repeat guests,” says Howard, “because they were just so great.”\u003c/p>\n\u003cp>After our first chat for KQED, I even joined Howard’s band of fanatics on \"One Heat Minute\" myself. That’s me on \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-148\">Episode 148\u003c/a> discussing the intricate progressions of Robert De Niro’s facial expressions. Coming off the Skype call with Howard, feeling almost drunk on the pleasures of discussing the minute details of a movie with which I’d been intimate since my teens, I was overwhelmed by how good such shared monomania could feel. I finally understood why he’d been able to secure so many guests.\u003c/p>\n\u003ch3>'All I Have is What I'm Going After'\u003c/h3>\n\u003cp>There was still that unfathomable dream in the back of Howard’s mind: scoring Michael Mann himself.\u003c/p>\n\u003cfigure id=\"attachment_11796575\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg\" alt=\"\" width=\"1900\" height=\"1410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-1020x757.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Director Michael Mann at the 2016 Academy Awards \u003ccite>( Jason Merritt / Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea that the award-winning director who made the movie that defined Howard’s entire life would even answer the phone — let alone sit down for an hour of taped conversation — still seemed crazy. Except for the fact that one of his \"One Heat Minute\" guests, \"Vulture\" critic Bilge Ebiri was on good terms with Mann — and was determined to lobby him on Howard’s behalf.\u003c/p>\n\u003cp>“I said ‘Even if he just knows about it, it would be great,’” says Howard. “But [Ebiri] is like ‘No: he's not only got to know about it, I'm going to tell him he has to do the show.”\u003c/p>\n\u003cp>Which is how, after much back-and-forth with the relevant representatives, on Episode 167, Michael Mann finally became Howard’s last \"One Heat Minute\" guest.\u003c/p>\n\u003ch3>'Very Flattered That You're Doing This'\u003c/h3>\n\u003cp>Were you nervous, I ask Howard? Knowing you had an hour with the man who’d made the movie that’s become the primary text of your life?\u003c/p>\n\u003cp>“In the \u003cem>before\u003c/em> moment, I was nervous,” he says. “I was mildly freaking out. But when we started talking I don't think I've ever been more confident in any interview that I've ever undertaken.”\u003c/p>\n\u003cp>“I was,” he reminds me, “the most prepared person to ever have a conversation about 'Heat' to Michael Mann.”\u003c/p>\n\u003cfigure id=\"attachment_11796573\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796573\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg\" alt=\"\" width=\"1900\" height=\"1277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-1020x686.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Val Kilmer in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you yourself \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-finale\">listen to the episode\u003c/a>, what will you hear? A famously obsessive filmmaker discussing his own movie \u003cem>about\u003c/em> obsessive men, with the guy who’s so obsessed with it that he’s based over 150 podcast episodes on it.\u003c/p>\n\u003cp>“I’m very flattered that you’re doing this,” are Mann’s first words in his episode, and you can hear the grin in his voice. When Howard asks about the director’s decision to appear on the podcast, the director explains that the whole endeavor \"sounded completely insane in a totally wonderful way.\"\u003c/p>\n\u003cp>On the subject of his work and his intentions, Mann is a serious, sincere interviewee who employs terms like “contrapuntal” when describing his cinematic output. “His recall for a movie that was made in 1995 and the character motivations and things that he'd had in mind for how that would look was just unbelievable,” notes Howard.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1147591432917487616"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Yet in conversation, Mann’s sheer enthusiasm for movies, often overlooked amid his professional reputation as an extreme perfectionist, is also given free rein. Reminiscing about filming that powerful final \"Heat\" minute, where Pacino and De Niro’s characters face off in LAX and only one survives, Mann is uncharacteristically effusive: “It felt like ‘man, I don’t want to be anywhere else on Planet Earth at this moment in time but this set, making this movie.’”\u003c/p>\n\u003cp>In terms of dedication and enthusiasm, the award-winning longtime Hollywood director suddenly sounded a lot... like Howard himself.\u003c/p>\n\u003ch3>'Our Little Campfire'\u003c/h3>\n\u003cp>“I compliment your obsessions,” Mann told Howard in a message recorded for a \"One Heat Minute\" live show at the 2019 Sydney Film Festival.\u003c/p>\n\u003cp>“And from one of the most fastidious and obsessive filmmakers that has ever walked the face of the Earth to compliment your obsessions? That's pretty special,” says Howard. But after all that, where does obsession \u003cem>go\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796552\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png\" alt=\"\" width=\"1500\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-160x115.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-800x576.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-1020x734.png 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard, appropriately dressed in Val Kilmer \"Heat\" t-shirt \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the conclusion of \"One Heat Minute,\" Howard is making even more podcasts about movies, including \"All the President’s Men\" (\"All the Presidents Minutes\") and Mann’s own \"Last of the Mohicans\" (\"The Last Twelve Minutes of the Mohicans\").\u003c/p>\n\u003cp>Yet \"One Heat Minute\" remains the fan project that a lot of people in Hollywood now know about. “For my name to be now synonymous with this movie is probably one of my greatest ever accomplishments” says Howard.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1143695297891176448"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Podcasts themselves are little campfires that you can sort of huddle around,” Howard says. “Hopefully our little campfire has brought a lot of people... joy following along.\"\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11796351/heat-the-ultimate-l-a-movie-the-ultimate-obsession","authors":["3243"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_17719","news_4","news_701","news_17041"],"featImg":"news_11796785","label":"news_72"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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