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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"}},"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_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_11883780":{"type":"posts","id":"news_11883780","meta":{"index":"posts_1591205157","site":"news","id":"11883780","score":null,"sort":[1628244028000]},"guestAuthors":[],"slug":"how-growing-up-in-daly-city-influenced-filmmaker-patricio-ginelsa","title":"How Growing Up in Daly City Influenced Filmmaker Patricio Ginelsa","publishDate":1628244028,"format":"standard","headTitle":"How Growing Up in Daly City Influenced Filmmaker Patricio Ginelsa | KQED","labelTerm":{},"content":"\u003cp>I met up with \u003ca href=\"http://www.patricioginelsa.com/\">Patricio Ginelsa\u003c/a> at his alma mater, Jefferson High School in Daly City. There’s a flagpole out front, a big box of a gymnasium, and a central courtyard where Ginelsa said “the cool kids” hung out. From the outside, it looks like a lot of Bay Area high schools. But for Ginelsa, it’s more than that. It’s where he fell in love with filmmaking.\u003c/p>\n\u003cp>Ginelsa pointed to a ground-level outdoor walkway at the front of the school: “We definitely shot around this area here.” Ginelsa is best known for his feature-length film “Lumpia,” first filmed in 1996 when he was home for summer break from the University of Southern California’s film school and completed in 2003.\u003c/p>\n\u003cp>“This is where we first meet the protagonist, when he trips,” he said. “It does bring back memories.”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>The film’s fictional Fogtown is Ginelsa’s hometown of Daly City, where \u003ca href=\"https://www.kqed.org/news/11883382/in-daly-city-the-bayanihan-spirit-is-alive-and-well\">about 30% of the population is Filipino\u003c/a>, like he is. “Lumpia,” a fun action-comedy, deals with discrimination against newer immigrants within the Filipino community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m a nerd at heart and I just felt it would be so much cooler and wackier to have a Filipino American as the central hero in this comic book world,” Ginelsa said. “And also some of the things I tackle are very serious in tone and I wanted to kind of make it more lighthearted and fun.”\u003c/p>\n\u003cfigure id=\"attachment_11883795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11883795\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1.jpg\" alt=\"A life-long comic book fan, Patricio Ginelsa featured a Filipino American hero in his first movie, making the weapon of choice the Filipino food staple lumpia.\" width=\"900\" height=\"1184\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1-800x1052.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1-160x210.jpg 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A life-long comic book fan, Patricio Ginelsa featured a Filipino American hero in his first movie, making the weapon of choice the Filipino food staple lumpia. \u003ccite>(Courtesy Kid Heroes Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginelsa said that, growing up in Daly City, he didn’t realize how special it was to be surrounded by such a large and vibrant Filipino community. All the student body officers he remembers were Filipino, and “the most popular person in high school was never the football jock — it was the Filipino deejay that would get you into the dance parties.”\u003c/p>\n\u003cp>It was only after Ginelsa left for film school that he understood what he’d taken for granted. At USC, he joined some Filipino student groups, something he’d never felt the need to do before, to try to build a similar community.\u003c/p>\n\u003ch3>Ginelsa’s Filmmaking Goes Way Back\u003c/h3>\n\u003cp>Ginelsa grew up near Hillside Park surrounded by other families with kids. He says that, more than any other place in his life, that park represents community. He and his friends would play baseball, then run to one of their houses for a snack. One summer, Ginelsa coordinated his friends to make a superhero movie they called “Kid Heroes.” Moviemaking soon became a summer tradition.\u003c/p>\n\u003cp>“And these superhero movies we would do during the summer started becoming popular,” Ginelsa said.\u003c/p>\n\u003cfigure id=\"attachment_11883799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11883799\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS.jpg\" alt=\"The cast and crew shot scenes at Ginelsa's alma mater, Jefferson High School in Daly City, for both the first "Lumpia" movie and "Lumpia With a Vengeance."\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast and crew shot scenes at Ginelsa’s alma mater, Jefferson High School in Daly City, for both the first “Lumpia” movie and “Lumpia With a Vengeance.” \u003ccite>(\u003ca href=\"https://www.jdbcreativity.com/\">Jamison Boyer\u003c/a>/Courtesy Kid Heroes Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’d premier the movie on VHS at his house at the end of the summer and then pass it around to friends once school started in the fall. Each kid who watched had to sign a “slam book” where they wrote their favorite scenes and gave feedback on how Ginelsa and his friends could improve. By the end of the school year, everyone wanted to be in the next film.\u003c/p>\n\u003cp>So, when Ginelsa came home from USC, he and his friends decided to create a reunion summer movie — footage that was eventually added to the final cut of “Lumpia.”\u003c/p>\n\u003cp>“It started out with a bunch of Filipino kids in the neighborhood just making movies together. And now we’re playing on a playground that’s just a little bit bigger,” Ginelsa said.\u003c/p>\n\u003ch3>Fighting for Representation\u003c/h3>\n\u003cp>Ginelsa said that when he first showed up at USC, he felt pressure to make things that were more mainstream. It was hard to push back against critiques that no one would want to watch movies about Filipino characters.\u003c/p>\n\u003cp>“I didn’t find my voice until I got involved with the movie called ‘The Debut’,” he said. Ginelsa interned on the independent feature-length film starring Dante Basco (of “Hook” fame), the first Filipino American film to be released theatrically nationwide.\u003c/p>\n\u003cp>Working on that film, touring with it, meeting pockets of Filipino Americans around the country and selling the film to business people: “That was my real film school,” Ginelsa said. “Seeing what it takes to make a Filipino American film and getting it out there. And that gave me the confidence to put out this homemade movie I shot [“Lumpia”] and to finish it.”\u003c/p>\n\u003cp>Energized by what he’d learned on tour with “The Debut,” Ginelsa rewrote the third act of “Lumpia” and reconvened his friends and neighbors to shoot the end seven years after capturing the original scenes at Jefferson High.\u003c/p>\n\u003ch3>Infusing Filipino Heritage Into Other Projects\u003c/h3>\n\u003cp>“Lumpia” became a cult classic, and Ginelsa went on to work on some other big projects, including directing two music videos for the Black Eyed Peas, including “Bebot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sV_Jh51XyBo\u003c/p>\n\u003cp>“I set it in Stockton, California,” he said of “Bebot.” “There’s a whole history of this where, you know, back in the ’30s, that’s where asparagus farmers came in. I felt like even though it’s a commercial to sell music for the Black Eyed Peas, at least I feel like I did some part to shine a light on that history that you don’t normally read in history books.”\u003c/p>\n\u003cp>In 2013, to honor the 10-year anniversary of “Lumpia,” Ginelsa started crowdfunding to make a sequel — what would eventually become “Lumpia With a Vengeance.” He raised $50,000 to make the movie and started shooting it in 2017. Now, he’s touring the country screening it at film festivals and seeking a distributor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IjiRMHszDJk\u003c/p>\n\u003ch3>On His Daly City Roots\u003c/h3>\n\u003cp>Ginelsa has come a long way from the “Kid Heroes” summer movie project, but Daly City has left an indelible stamp on his identity and his art. He lives in Los Angeles now, but when he returns to Daly City to visit family, he revels in the fog and makes sure to visit his old stomping grounds — Hillside Park, Jefferson High, and, of course, the Serramonte mall.\u003c/p>\n\u003cp>“Growing up here, I just felt like it boosted my pride in terms of being Fil-Am,” Ginelsa said. “As a filmmaker, it became almost like a responsibility to use my platform to tell my stories.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"Patricio Ginelsa draws inspiration for his movies from his experiences growing up in Daly City's large Filipino community.","status":"publish","parent":0,"modified":1700588155,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":25,"wordCount":1201},"headData":{"title":"How Growing Up in Daly City Influenced Filmmaker Patricio Ginelsa | KQED","description":"Patricio Ginelsa draws inspiration for his movies from his experiences growing up in Daly City's large Filipino community.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How Growing Up in Daly City Influenced Filmmaker Patricio Ginelsa","datePublished":"2021-08-06T10:00:28.000Z","dateModified":"2023-11-21T17:35:55.000Z","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/KQINC1406853302.mp3?updated=1627082759","path":"/news/11883780/how-growing-up-in-daly-city-influenced-filmmaker-patricio-ginelsa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I met up with \u003ca href=\"http://www.patricioginelsa.com/\">Patricio Ginelsa\u003c/a> at his alma mater, Jefferson High School in Daly City. There’s a flagpole out front, a big box of a gymnasium, and a central courtyard where Ginelsa said “the cool kids” hung out. From the outside, it looks like a lot of Bay Area high schools. But for Ginelsa, it’s more than that. It’s where he fell in love with filmmaking.\u003c/p>\n\u003cp>Ginelsa pointed to a ground-level outdoor walkway at the front of the school: “We definitely shot around this area here.” Ginelsa is best known for his feature-length film “Lumpia,” first filmed in 1996 when he was home for summer break from the University of Southern California’s film school and completed in 2003.\u003c/p>\n\u003cp>“This is where we first meet the protagonist, when he trips,” he said. “It does bring back memories.”\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>The film’s fictional Fogtown is Ginelsa’s hometown of Daly City, where \u003ca href=\"https://www.kqed.org/news/11883382/in-daly-city-the-bayanihan-spirit-is-alive-and-well\">about 30% of the population is Filipino\u003c/a>, like he is. “Lumpia,” a fun action-comedy, deals with discrimination against newer immigrants within the Filipino community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m a nerd at heart and I just felt it would be so much cooler and wackier to have a Filipino American as the central hero in this comic book world,” Ginelsa said. “And also some of the things I tackle are very serious in tone and I wanted to kind of make it more lighthearted and fun.”\u003c/p>\n\u003cfigure id=\"attachment_11883795\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11883795\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1.jpg\" alt=\"A life-long comic book fan, Patricio Ginelsa featured a Filipino American hero in his first movie, making the weapon of choice the Filipino food staple lumpia.\" width=\"900\" height=\"1184\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1-800x1052.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LUMPIA_MoviePoster-sm-1-160x210.jpg 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A life-long comic book fan, Patricio Ginelsa featured a Filipino American hero in his first movie, making the weapon of choice the Filipino food staple lumpia. \u003ccite>(Courtesy Kid Heroes Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ginelsa said that, growing up in Daly City, he didn’t realize how special it was to be surrounded by such a large and vibrant Filipino community. All the student body officers he remembers were Filipino, and “the most popular person in high school was never the football jock — it was the Filipino deejay that would get you into the dance parties.”\u003c/p>\n\u003cp>It was only after Ginelsa left for film school that he understood what he’d taken for granted. At USC, he joined some Filipino student groups, something he’d never felt the need to do before, to try to build a similar community.\u003c/p>\n\u003ch3>Ginelsa’s Filmmaking Goes Way Back\u003c/h3>\n\u003cp>Ginelsa grew up near Hillside Park surrounded by other families with kids. He says that, more than any other place in his life, that park represents community. He and his friends would play baseball, then run to one of their houses for a snack. One summer, Ginelsa coordinated his friends to make a superhero movie they called “Kid Heroes.” Moviemaking soon became a summer tradition.\u003c/p>\n\u003cp>“And these superhero movies we would do during the summer started becoming popular,” Ginelsa said.\u003c/p>\n\u003cfigure id=\"attachment_11883799\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11883799\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS.jpg\" alt=\"The cast and crew shot scenes at Ginelsa's alma mater, Jefferson High School in Daly City, for both the first "Lumpia" movie and "Lumpia With a Vengeance."\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/08/LumpiaVengeance_JeffersonHS-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast and crew shot scenes at Ginelsa’s alma mater, Jefferson High School in Daly City, for both the first “Lumpia” movie and “Lumpia With a Vengeance.” \u003ccite>(\u003ca href=\"https://www.jdbcreativity.com/\">Jamison Boyer\u003c/a>/Courtesy Kid Heroes Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’d premier the movie on VHS at his house at the end of the summer and then pass it around to friends once school started in the fall. Each kid who watched had to sign a “slam book” where they wrote their favorite scenes and gave feedback on how Ginelsa and his friends could improve. By the end of the school year, everyone wanted to be in the next film.\u003c/p>\n\u003cp>So, when Ginelsa came home from USC, he and his friends decided to create a reunion summer movie — footage that was eventually added to the final cut of “Lumpia.”\u003c/p>\n\u003cp>“It started out with a bunch of Filipino kids in the neighborhood just making movies together. And now we’re playing on a playground that’s just a little bit bigger,” Ginelsa said.\u003c/p>\n\u003ch3>Fighting for Representation\u003c/h3>\n\u003cp>Ginelsa said that when he first showed up at USC, he felt pressure to make things that were more mainstream. It was hard to push back against critiques that no one would want to watch movies about Filipino characters.\u003c/p>\n\u003cp>“I didn’t find my voice until I got involved with the movie called ‘The Debut’,” he said. Ginelsa interned on the independent feature-length film starring Dante Basco (of “Hook” fame), the first Filipino American film to be released theatrically nationwide.\u003c/p>\n\u003cp>Working on that film, touring with it, meeting pockets of Filipino Americans around the country and selling the film to business people: “That was my real film school,” Ginelsa said. “Seeing what it takes to make a Filipino American film and getting it out there. And that gave me the confidence to put out this homemade movie I shot [“Lumpia”] and to finish it.”\u003c/p>\n\u003cp>Energized by what he’d learned on tour with “The Debut,” Ginelsa rewrote the third act of “Lumpia” and reconvened his friends and neighbors to shoot the end seven years after capturing the original scenes at Jefferson High.\u003c/p>\n\u003ch3>Infusing Filipino Heritage Into Other Projects\u003c/h3>\n\u003cp>“Lumpia” became a cult classic, and Ginelsa went on to work on some other big projects, including directing two music videos for the Black Eyed Peas, including “Bebot.”\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/sV_Jh51XyBo'\n title='//www.youtube.com/embed/sV_Jh51XyBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I set it in Stockton, California,” he said of “Bebot.” “There’s a whole history of this where, you know, back in the ’30s, that’s where asparagus farmers came in. I felt like even though it’s a commercial to sell music for the Black Eyed Peas, at least I feel like I did some part to shine a light on that history that you don’t normally read in history books.”\u003c/p>\n\u003cp>In 2013, to honor the 10-year anniversary of “Lumpia,” Ginelsa started crowdfunding to make a sequel — what would eventually become “Lumpia With a Vengeance.” He raised $50,000 to make the movie and started shooting it in 2017. Now, he’s touring the country screening it at film festivals and seeking a distributor.\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/IjiRMHszDJk'\n title='//www.youtube.com/embed/IjiRMHszDJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>On His Daly City Roots\u003c/h3>\n\u003cp>Ginelsa has come a long way from the “Kid Heroes” summer movie project, but Daly City has left an indelible stamp on his identity and his art. He lives in Los Angeles now, but when he returns to Daly City to visit family, he revels in the fog and makes sure to visit his old stomping grounds — Hillside Park, Jefferson High, and, of course, the Serramonte mall.\u003c/p>\n\u003cp>“Growing up here, I just felt like it boosted my pride in terms of being Fil-Am,” Ginelsa said. “As a filmmaker, it became almost like a responsibility to use my platform to tell my stories.”\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11883780/how-growing-up-in-daly-city-influenced-filmmaker-patricio-ginelsa","authors":["234"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_2567","news_5056","news_701"],"featImg":"news_11883786","label":"source_news_11883780"},"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"},"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"},"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"},"news_11750104":{"type":"posts","id":"news_11750104","meta":{"index":"posts_1591205157","site":"news","id":"11750104","score":null,"sort":[1559346290000]},"guestAuthors":[],"slug":"how-an-old-school-l-a-video-store-thrives-in-a-netflix-world","title":"How an Old-School L.A. Video Store Thrives in a Netflix World","publishDate":1559346290,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>The year was 1989. Movies like \"Batman,\" \"When Harry Met Sally\" and \"Back to the Future Part II\" were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>[pullquote size=“medium” align=”right” citation=\"Martin Felix\"]'We were one of the first to actually pioneer [movie delivery].'[/pullquote]\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of '80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EkNxT89CgFE\u003c/p>\n\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the '90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,\" says Martin. \"I was surrounded by 15 video stores, but we're still here.\"\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, 'I'm not going to deal with it,' \" he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That's the only thing that hasn't changed in this industry,” says Martin.\u003c/p>\n\u003cp>He's even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn't closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of \"The Equalizer 2\" and \"Crazy Rich Asians.\"\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That's what I am to most of them,” says Martin. “Some of them rent movies, some of them don't, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"In ’89, two Mexican-American brothers from East Los Angeles started a business in their garage, delivering VHS movie magic to their side of town. And Fastlane Video is still going strong.","status":"publish","parent":0,"modified":1559346290,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":1231},"headData":{"title":"How an Old-School L.A. Video Store Thrives in a Netflix World | KQED","description":"In ’89, two Mexican-American brothers from East Los Angeles started a business in their garage, delivering VHS movie magic to their side of town. And Fastlane Video is still going strong.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"How an Old-School L.A. Video Store Thrives in a Netflix World","datePublished":"2019-05-31T23:44:50.000Z","dateModified":"2019-05-31T23:44:50.000Z","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":"11750104 https://ww2.kqed.org/news/?p=11750104","disqusUrl":"https://ww2.kqed.org/news/2019/05/31/how-an-old-school-l-a-video-store-thrives-in-a-netflix-world/","disqusTitle":"How an Old-School L.A. Video Store Thrives in a Netflix World","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/05/MedinaCadenaLAVideoStore.mp3","audioTrackLength":328,"path":"/news/11750104/how-an-old-school-l-a-video-store-thrives-in-a-netflix-world","audioDuration":328000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year was 1989. Movies like \"Batman,\" \"When Harry Met Sally\" and \"Back to the Future Part II\" were Hollywood hits.\u003c/p>\n\u003cp>On the other side of Hollywood, miles from the production studios and industry gatekeepers, two Mexican-American brothers from East Los Angeles embarked on a plan to deliver movie magic to their side of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'We were one of the first to actually pioneer [movie delivery].'","name":"pullquote","attributes":{"named":{"size":"“medium”","align":"”right”","citation":"Martin Felix","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Martin and Eddie Felix purchased used VHS tapes from the rental stores on the Westside of Los Angeles. Once they had a sizable collection of '80s crowd-favorites, they converted their parent’s garage in East Los Angeles into a video library.\u003c/p>\n\u003cp>They called their business Fastlane Video, and unlike the nearby video rental spots, they took their cue from pizzerias. They advertised free delivery and pickup, with a free bag of microwavable popcorn for every two-movie rental.\u003c/p>\n\u003cfigure id=\"attachment_11750247\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37368_156702-qut.jpg\" alt=\"An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles.\" width=\"729\" height=\"900\" class=\"size-full wp-image-11750247\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut.jpg 729w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37368_156702-qut-160x198.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">An original flyer Martin and Eddie Felix printed and mailed to households across East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Already running a successful print shop out of the same garage, 21-year-old-Martin and his older brother Eddie designed mini catalogs of their VHS inventory. \u003c/p>\n\u003cp>They mailed them out to households across East L.A so customers could call in their orders.\u003c/p>\n\u003cp>“We were one of the first to actually pioneer [movie delivery],” says Martin Felix.\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>More than a decade before Netflix would come to dominate the rental market and mail DVDs in red envelopes, the Felix brothers were finding innovative ways to collect their share of the lucrative movie industry.\u003c/p>\n\u003cp>Martin and Eddie enlisted their neighborhood buddies with cars to deliver from Soto Street to Whittier Boulevard, all the way to the 10 freeway.\u003c/p>\n\u003cfigure id=\"attachment_11750245\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11750245\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg\" alt=\"\" width=\"1920\" height=\"1567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-800x653.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1020x832.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37367_fastlane-video-1990-pico-rivera-qut-1200x979.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video began as a movie delivery service to households throughout East Los Angeles. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Business got so good that eager customers started showing up to the Felix’s family home — the address was noted on the return address of the mailed catalogs and flyers — expecting a storefront, only to find a garage.\u003c/p>\n\u003cp>“We needed a new location because more people wanted to actually come into a shop than for us to deliver,” says Martin.\u003c/p>\n\u003cp>In 1990, the brothers expanded from their parents’ East L.A. garage to a storefront in the nearby suburb of Pico Rivera. Two years later, the brothers went their separate ways but remained close.\u003c/p>\n\u003cp>Martin moved Fastlane Video to the city of Whittier and Eddie opened his own printing shop, Fastlane Printing, next door.\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/EkNxT89CgFE'\n title='//www.youtube.com/embed/EkNxT89CgFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since Martin was a party promoter before the days of Fastlane Video, he knew how to attract large crowds to the store.\u003c/p>\n\u003cp>In the '90s he often organized autograph-signings with acts like \u003ca href=\"https://www.youtube.com/watch?v=XB91QfyBuz8\">Sweet Sensation\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Of-uhhQWNeA\">Miranda\u003c/a>, and eager teens would show up to get the latest mix-tapes and CDs for their backyard parties.\u003c/p>\n\u003cp>The part-video-store, part-record-shop quickly became a hub for local DJs and big name recording artists in the house music and \u003ca href=\"https://tropicsofmeta.com/2016/11/30/the-other-freestyle-recovering-80s-latin-dance-music/\">freestyle\u003c/a> scene.\u003c/p>\n\u003cfigure id=\"attachment_11750249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg\" alt=\"In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\" width=\"800\" height=\"405\" class=\"size-medium wp-image-11750249\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-800x405.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-160x81.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1020x516.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut-1200x607.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37364_clubs-mannequinz-49-qut.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the '80's and '90's, the Felix brothers promoted big warehouse parties where freestyle and house music reigned supreme among the mostly Latino crowds.\u003cbr> \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unable to compete with the free digital music market kick-started by Napster, Martin discontinued the music side of the business in 2002. When his customers began requesting the newest releases on DVDs, he shifted his business model once again, this time from analog to digital.\u003c/p>\n\u003cp>“Our location is so small, we got to the point that we had to give away all our VHS tapes,” says Martin.\u003c/p>\n\u003cp>Today the only VHS tapes in the store are collecting dust in the back closet, left over from DVD transfers Martin makes for customers.\u003c/p>\n\u003cp>Now that streaming platforms have replaced video stores it’s hard to believe that \u003ca href=\"http://www.fastlanevideo.com/\">Fastlane Video is still standing\u003c/a>.\u003c/p>\n\u003cp>“There used to be a video store on every corner,\" says Martin. \"I was surrounded by 15 video stores, but we're still here.\"\u003c/p>\n\u003cp>It’s not a hipster spot with retro decor and underground art house films. Instead, Martin has the big blockbuster titles on 4K and Blu Ray DVDs.\u003c/p>\n\u003cfigure id=\"attachment_11750248\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11750248 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg\" alt=\"\" width=\"1279\" height=\"994\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-800x622.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1020x793.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37369_fastlane-records-dj-trajic-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for autograph signings at Fastlane Video & Records, a hub for fans of freestyle and house music. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin says keeping his shop modern is key to its survival.\u003c/p>\n\u003cp>“Either we move with the technology and learn from it or just close our doors and say, 'I'm not going to deal with it,' \" he says.\u003c/p>\n\u003cp>The modest place is crammed with more than 15,000 DVDs, leaving little room to move around. Stark fluorescent lighting beams from the ceiling — reminiscent of the early days when Fastlane Video began 30 years ago out of a garage.\u003c/p>\n\u003cp>“Making that customer smile. That's the only thing that hasn't changed in this industry,” says Martin.\u003c/p>\n\u003cp>He's even kept his free popcorn special from the early days.\u003c/p>\n\u003cfigure id=\"attachment_11750236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11750236 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37365_IMG_7039-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martin Felix started Fastlane Video with his older brother at age 21, and hasn't closed his doors since. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like Martin’s original customers from 1989, who preferred the experience of visiting a store over the convenience of home delivery, so do today’s customers, like Angelo Sarni.\u003c/p>\n\u003cp>“I use Netflix, but I still like walking into a video place and renting videos the old school way,” says Sarni, who on this day is renting copies of \"The Equalizer 2\" and \"Crazy Rich Asians.\"\u003c/p>\n\u003cp>For others, paying subscription fees to various streaming platforms on top of their internet bill is out of reach. Fastlane Video is an affordable alternative that comes with the bonus of face-to-face interaction.\u003c/p>\n\u003cp>Whittier resident Louie Davis frequents the store to rent the latest Marvel movie, and chat about superhero trivia with a familiar face.\u003c/p>\n\u003cfigure id=\"attachment_11750244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg\" alt=\"Fastlane Video is still going strong in the Los Angeles suburb of Whittier.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750244\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37366_fastlane-video-front-day-qut.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fastlane Video is still going strong in the Los Angeles suburb of Whittier. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Many customers come here to just talk to somebody. That's what I am to most of them,” says Martin. “Some of them rent movies, some of them don't, but I enjoy being here.”\u003c/p>\n\u003cp>The crowded store every Christmas Eve is a testament to Fastlane Video’s popularity in the community, explains customer Donald Calkims. In order to clear up shelf space for newer movies, Martin sets up tables in the parking lot stacked with overstocked DVDs that are free for his customers to take home.\u003c/p>\n\u003cp>“Now, I have a lot of customers that [bring] not just their kids but even their grandkids. So I have four generations that come in here to rent movies,” says Martin.\u003c/p>\n\u003cfigure id=\"attachment_11750254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg\" alt=\"Longtime customers turned out for Fastlane Video’s annual Christmas giveaway.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11750254\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/05/RS37370_fastlane-video-christmas-drawing-2018-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime customers turned out for Fastlane Video’s annual Christmas giveaway. \u003ccite>(Courtesy of Martin Felix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While streaming platforms have altered the way we consume media, Fastlane Video is a reminder of a time when movies brought people together instead of isolating us on our individual screens.\u003c/p>\n\u003cp>And as long as the neighborhood keeps coming, Martin Felix says he plans to keep his doors open for as long as he can.\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/11750104/how-an-old-school-l-a-video-store-thrives-in-a-netflix-world","authors":["11528"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_24708","news_21515","news_22033","news_17719","news_5396","news_23121","news_701","news_727","news_25809","news_18582","news_22630"],"featImg":"news_11751558","label":"news_72"},"news_11750641":{"type":"posts","id":"news_11750641","meta":{"index":"posts_1591205157","site":"news","id":"11750641","score":null,"sort":[1559307632000]},"guestAuthors":[],"slug":"what-ferris-bueller-and-other-80s-movies-got-wrong-about-mental-health","title":"What Ferris Bueller and Other '80s Movies Got Wrong About Mental Health","publishDate":1559307632,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>David Singer clicks through iTunes looking for \"Ferris Bueller’s Day Off,\" a film he watched at least 12 times when it first came out in 1986. He was in his early 20s then.\u003c/p>\n\u003cp>“You’re old,” his younger daughter mutters, as she nudges her dad to choose the HD version.\u003c/p>\n\u003cp>Singer has high hopes as he settles in to watch the film with his wife and their two daughters, Emma, 13, and Elliot, 16, at their home in San Francisco.\u003c/p>\n\u003cp>“I want them to fall in love with it, just the way I did,” he says, as the opening scenes begin to roll. “Getting them to watch a movie from my younger days is always a challenge. They look slower and not as much in focus.”\u003c/p>\n\u003cp>Singer is like so many other people who came of age in the 1980s and idolized Ferris Bueller. For them, it will always be a fun movie about a kid faking being sick and skipping school.\u003c/p>\n\u003cp>“He was just having a load of fun,” Singer says, remembering Ferris at the Cubs game and singing on the float in downtown Chicago. “Everyone has a friend like his buddy, who’s kind of a sad sack.”\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='Danny Wedding, author of Movies and Mental Illness']'In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble. Now, we're more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.'[/pullquote]But more than 30 years later, Cameron Frye, and his friendship with Ferris, look different through the eyes of today’s teens. They notice different themes and different dynamics. Watching the film from today’s perspective and applying today’s vocabulary, it’s clear that Cameron wasn’t just a sad sack — he was depressed and anxious.\u003c/p>\n\u003cp>“I’m dying,” he groans in his first scene, cocooned in bed, staring at the ceiling. To which Ferris responds, “You’re not dying. You just can’t think of anything good to do.”\u003c/p>\n\u003cp>Throughout the film, Cameron’s fear is the foil to Ferris’ free spirit.\u003c/p>\n\u003cp>When they borrow Cameron’s dad’s precious Ferrari and things go wrong, Cameron “goes berserk,” in Ferris’ words, then spends the next several scenes in a catatonic state.\u003c/p>\n\u003cp>“Maybe he’s really sick,” Ferris says, nibbling an Oreo in a hot tub while Cameron stares straight ahead over the swimming pool. “Maybe he isn’t just torturing himself.”\u003c/p>\n\u003cp>Then Cameron tumbles into the pool, fully clothed, and sinks to the bottom. Ferris dives in to save him. It’s an ambiguous move -- in the end, a prank, but with hints of suicide.\u003c/p>\n\u003cp>“Ferris Bueller, you're my hero,” Cameron says sarcastically.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D6gABQFR94U\u003c/p>\n\u003cp>\u003cstrong>From Hero to Jerk\u003c/strong>\u003c/p>\n\u003cp>When David Singer watched this film in the '80s, he did think of Ferris as a hero. But that wasn’t his daughter Elliot’s first reaction.\u003c/p>\n\u003cp>“I kinda hated him,” she says to her dad. “Ferris kinda sucks.”\u003c/p>\n\u003cp>He orders Cameron to get out of bed and pick him up, forces him to take his dad’s car, then dismisses Cameron’s concerns and blows him off as a worrier.\u003c/p>\n\u003cp>“He’s a very fun character,” Elliot says of Ferris. “But he’s also kind of an asshole.”\u003c/p>\n\u003cp>Plus, this whole taking-a-day-off-from-school business, pretending to be sick -- that’s not how it goes down in her world. Elliot is a junior at Lick-Wilmerding, a private high school in San Francisco with a reputation for being high pressure.\u003c/p>\n\u003cp>“People come to school sick because, honestly, at the type of school I’m at, it’s more stressful not to be at school,” she says. “Going and having a fun day is really fun. But it's also not fun – the amount of stuff you miss in a day.”\u003c/p>\n\u003cp>Elliot has had her own struggles with anxiety. It makes sense that she would pick up on different themes in the film than her dad and his generation.\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='David Singer, who recently watched the film with his two teenage daughters']'Anxiety for teenagers, anxiety about the future, where do you go to college. It's age-old.'[/pullquote]Since \"Ferris Bueller\" was made, teenage suicide rates have spiked, especially among young girls, according to \u003ca href=\"https://www.cdc.gov/nchs/data/databriefs/db241.pdf\" target=\"_blank\" rel=\"noopener\">CDC data\u003c/a>. And 70% of today’s teens view anxiety and depression as a major problem, according to a recent \u003ca href=\"https://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">study from the Pew Research Center\u003c/a>.\u003c/p>\n\u003cp>“The viewing public is much more attuned to mental illness and the problems confronting people who are coping with mental illness,” says Danny Wedding, a psychologist from Berkeley, who wrote the \u003ca href=\"https://books.google.com/books/about/Movies_and_Mental_Illness.html?id=20RfAgAAQBAJ\" target=\"_blank\" rel=\"noopener\">textbook \"Movies and Mental Illness.\"\u003c/a> He is working on the fifth edition now.\u003c/p>\n\u003cp>“In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble,” he says. “Now, we're more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.”\u003c/p>\n\u003cp>And the Ferrari? Wedding sees it as a metaphor for all the times his father failed to respond to Cameron’s needs.\u003c/p>\n\u003cp>Film representations began to change in the late 1980s and '90s with films like \"Rain Man,\" which started explicitly addressing mental health, Wedding says. As public awareness grew, films got better. As films got better, public awareness grew more.\u003c/p>\n\u003cp>“One of the things that happened is that directors increasingly turned to mental health consultants to advise on films, and that happened in the '90s,” he says.\u003c/p>\n\u003cp>\u003cstrong>Movie Myths Then and Now\u003c/strong>\u003c/p>\n\u003cp>But before that, movies were rife with subtle, subliminal messages about mental illness, often through sidekick characters like Cameron. All sorts of negative stereotypes were promulgated, Wedding says. He boils them down to three common myths.\u003c/p>\n\u003cp>Myth No. 1: People become mentally ill because their parents treated them badly.\u003c/p>\n\u003cp>[pullquote size='small' align='right' citation='Elliot Singer, 16']'He’s a very fun character. But he’s also kind of an asshole.'[/pullquote]\"Sybil\" and \"Carrie\" are examples of this, as are all the horror films of the '80s, like \"Halloween\" and \"A Nightmare on Elm Street.\" In that film, Freddy Krueger was the villain that slashed people in their dreams. Legend has it he was conceived when a nun at a mental hospital was locked in a room full of criminally insane men.\u003c/p>\n\u003cp>“They said that Freddy is the offspring of a thousand maniacs,” Wedding says.\u003c/p>\n\u003cp>Myth No. 2: People become mentally ill because of some traumatic event that happened.\u003c/p>\n\u003cp>Think of Robin Williams, who plays a character with schizophrenia in \"The Fisher King,\" Wedding says: “His symptoms develop after a traumatic event in which his girlfriend is killed in a restaurant.”\u003c/p>\n\u003cp>Some myths have persisted, like No. 3: Love will conquer mental illness.\u003c/p>\n\u003cp>You see this everywhere, Wedding says: \"A Beautiful Mind,\" \"Mozart and the Whale,\" \"Benny & Joon.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LlmtpC2sRC8\u003c/p>\n\u003cp>“You leave the theater thinking that Joon is gonna be OK because she's found her true love,” he says. “But the fact is that schizophrenia is an illness that is chronic and cyclical, and oftentimes people who are loved very much by their families still have to grapple with the challenges of mental illness. They still get sick. Love is important. It's not sufficient.”\u003c/p>\n\u003cp>It’s like that in \"Ferris Bueller,\" too. Cameron has a breakthrough at the end of the film. He decides he is not going to live in fear anymore. He is going to stand up to his dad. And all it took was a day off from school with his best friend.\u003c/p>\n\u003cp>[aside tag='mental-health' label='More Coverage']Today’s teenagers, Emma and Elliot Singer, say, \"Yeah right.\"\u003c/p>\n\u003cp>“It’s not realistic,” Emma says.\u003c/p>\n\u003cp>“I kind of agree,” Elliot replies. “I think it was like an abrupt romanticized transition for him.”\u003c/p>\n\u003cp>Their dad makes his case, tries to bring them around. He says the themes from the movie back then are the same as they are now.\u003c/p>\n\u003cp>“We have different words and maybe we talk about it more with more specificity or more transparency, but they were all still there, right?” he says. “Anxiety for teenagers, anxiety about the future, where do you go to college. It's age-old.”\u003c/p>\n\u003cp>Elliot says, I dunno. It was funny. Maybe if she watches it another 11 times, she’ll see what her dad sees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"More than 30 years after 'Ferris Bueller's Day Off' became a classic with many '80s youth, Cameron Frye, and his friendship with Ferris, look different through the eyes of today’s teens. ","status":"publish","parent":0,"modified":1559342949,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":46,"wordCount":1526},"headData":{"title":"What Ferris Bueller and Other '80s Movies Got Wrong About Mental Health | KQED","description":"More than 30 years after 'Ferris Bueller's Day Off' became a classic with many '80s youth, Cameron Frye, and his friendship with Ferris, look different through the eyes of today’s teens. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"What Ferris Bueller and Other '80s Movies Got Wrong About Mental Health","datePublished":"2019-05-31T13:00:32.000Z","dateModified":"2019-05-31T22:49:09.000Z","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":"11750641 https://ww2.kqed.org/news/?p=11750641","disqusUrl":"https://ww2.kqed.org/news/2019/05/31/what-ferris-bueller-and-other-80s-movies-got-wrong-about-mental-health/","disqusTitle":"What Ferris Bueller and Other '80s Movies Got Wrong About Mental Health","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/05/DemboskyFerrisBueller190528.mp3","audioTrackLength":429,"path":"/news/11750641/what-ferris-bueller-and-other-80s-movies-got-wrong-about-mental-health","audioDuration":429000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Singer clicks through iTunes looking for \"Ferris Bueller’s Day Off,\" a film he watched at least 12 times when it first came out in 1986. He was in his early 20s then.\u003c/p>\n\u003cp>“You’re old,” his younger daughter mutters, as she nudges her dad to choose the HD version.\u003c/p>\n\u003cp>Singer has high hopes as he settles in to watch the film with his wife and their two daughters, Emma, 13, and Elliot, 16, at their home in San Francisco.\u003c/p>\n\u003cp>“I want them to fall in love with it, just the way I did,” he says, as the opening scenes begin to roll. “Getting them to watch a movie from my younger days is always a challenge. They look slower and not as much in focus.”\u003c/p>\n\u003cp>Singer is like so many other people who came of age in the 1980s and idolized Ferris Bueller. For them, it will always be a fun movie about a kid faking being sick and skipping school.\u003c/p>\n\u003cp>“He was just having a load of fun,” Singer says, remembering Ferris at the Cubs game and singing on the float in downtown Chicago. “Everyone has a friend like his buddy, who’s kind of a sad sack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble. Now, we're more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.'","name":"pullquote","attributes":{"named":{"size":"small","align":"right","citation":"Danny Wedding, author of Movies and Mental Illness","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But more than 30 years later, Cameron Frye, and his friendship with Ferris, look different through the eyes of today’s teens. They notice different themes and different dynamics. Watching the film from today’s perspective and applying today’s vocabulary, it’s clear that Cameron wasn’t just a sad sack — he was depressed and anxious.\u003c/p>\n\u003cp>“I’m dying,” he groans in his first scene, cocooned in bed, staring at the ceiling. To which Ferris responds, “You’re not dying. You just can’t think of anything good to do.”\u003c/p>\n\u003cp>Throughout the film, Cameron’s fear is the foil to Ferris’ free spirit.\u003c/p>\n\u003cp>When they borrow Cameron’s dad’s precious Ferrari and things go wrong, Cameron “goes berserk,” in Ferris’ words, then spends the next several scenes in a catatonic state.\u003c/p>\n\u003cp>“Maybe he’s really sick,” Ferris says, nibbling an Oreo in a hot tub while Cameron stares straight ahead over the swimming pool. “Maybe he isn’t just torturing himself.”\u003c/p>\n\u003cp>Then Cameron tumbles into the pool, fully clothed, and sinks to the bottom. Ferris dives in to save him. It’s an ambiguous move -- in the end, a prank, but with hints of suicide.\u003c/p>\n\u003cp>“Ferris Bueller, you're my hero,” Cameron says sarcastically.\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/D6gABQFR94U'\n title='//www.youtube.com/embed/D6gABQFR94U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>From Hero to Jerk\u003c/strong>\u003c/p>\n\u003cp>When David Singer watched this film in the '80s, he did think of Ferris as a hero. But that wasn’t his daughter Elliot’s first reaction.\u003c/p>\n\u003cp>“I kinda hated him,” she says to her dad. “Ferris kinda sucks.”\u003c/p>\n\u003cp>He orders Cameron to get out of bed and pick him up, forces him to take his dad’s car, then dismisses Cameron’s concerns and blows him off as a worrier.\u003c/p>\n\u003cp>“He’s a very fun character,” Elliot says of Ferris. “But he’s also kind of an asshole.”\u003c/p>\n\u003cp>Plus, this whole taking-a-day-off-from-school business, pretending to be sick -- that’s not how it goes down in her world. Elliot is a junior at Lick-Wilmerding, a private high school in San Francisco with a reputation for being high pressure.\u003c/p>\n\u003cp>“People come to school sick because, honestly, at the type of school I’m at, it’s more stressful not to be at school,” she says. “Going and having a fun day is really fun. But it's also not fun – the amount of stuff you miss in a day.”\u003c/p>\n\u003cp>Elliot has had her own struggles with anxiety. It makes sense that she would pick up on different themes in the film than her dad and his generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'Anxiety for teenagers, anxiety about the future, where do you go to college. It's age-old.'","name":"pullquote","attributes":{"named":{"size":"small","align":"right","citation":"David Singer, who recently watched the film with his two teenage daughters","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Since \"Ferris Bueller\" was made, teenage suicide rates have spiked, especially among young girls, according to \u003ca href=\"https://www.cdc.gov/nchs/data/databriefs/db241.pdf\" target=\"_blank\" rel=\"noopener\">CDC data\u003c/a>. And 70% of today’s teens view anxiety and depression as a major problem, according to a recent \u003ca href=\"https://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">study from the Pew Research Center\u003c/a>.\u003c/p>\n\u003cp>“The viewing public is much more attuned to mental illness and the problems confronting people who are coping with mental illness,” says Danny Wedding, a psychologist from Berkeley, who wrote the \u003ca href=\"https://books.google.com/books/about/Movies_and_Mental_Illness.html?id=20RfAgAAQBAJ\" target=\"_blank\" rel=\"noopener\">textbook \"Movies and Mental Illness.\"\u003c/a> He is working on the fifth edition now.\u003c/p>\n\u003cp>“In the 1980s, there might have been a tendency to see these as just rebellious teenagers misbehaving and causing trouble,” he says. “Now, we're more likely to be sensitive to the mental illness themes and to see Cameron as somebody coping with depression.”\u003c/p>\n\u003cp>And the Ferrari? Wedding sees it as a metaphor for all the times his father failed to respond to Cameron’s needs.\u003c/p>\n\u003cp>Film representations began to change in the late 1980s and '90s with films like \"Rain Man,\" which started explicitly addressing mental health, Wedding says. As public awareness grew, films got better. As films got better, public awareness grew more.\u003c/p>\n\u003cp>“One of the things that happened is that directors increasingly turned to mental health consultants to advise on films, and that happened in the '90s,” he says.\u003c/p>\n\u003cp>\u003cstrong>Movie Myths Then and Now\u003c/strong>\u003c/p>\n\u003cp>But before that, movies were rife with subtle, subliminal messages about mental illness, often through sidekick characters like Cameron. All sorts of negative stereotypes were promulgated, Wedding says. He boils them down to three common myths.\u003c/p>\n\u003cp>Myth No. 1: People become mentally ill because their parents treated them badly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'He’s a very fun character. But he’s also kind of an asshole.'","name":"pullquote","attributes":{"named":{"size":"small","align":"right","citation":"Elliot Singer, 16","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\"Sybil\" and \"Carrie\" are examples of this, as are all the horror films of the '80s, like \"Halloween\" and \"A Nightmare on Elm Street.\" In that film, Freddy Krueger was the villain that slashed people in their dreams. Legend has it he was conceived when a nun at a mental hospital was locked in a room full of criminally insane men.\u003c/p>\n\u003cp>“They said that Freddy is the offspring of a thousand maniacs,” Wedding says.\u003c/p>\n\u003cp>Myth No. 2: People become mentally ill because of some traumatic event that happened.\u003c/p>\n\u003cp>Think of Robin Williams, who plays a character with schizophrenia in \"The Fisher King,\" Wedding says: “His symptoms develop after a traumatic event in which his girlfriend is killed in a restaurant.”\u003c/p>\n\u003cp>Some myths have persisted, like No. 3: Love will conquer mental illness.\u003c/p>\n\u003cp>You see this everywhere, Wedding says: \"A Beautiful Mind,\" \"Mozart and the Whale,\" \"Benny & Joon.\"\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/LlmtpC2sRC8'\n title='//www.youtube.com/embed/LlmtpC2sRC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You leave the theater thinking that Joon is gonna be OK because she's found her true love,” he says. “But the fact is that schizophrenia is an illness that is chronic and cyclical, and oftentimes people who are loved very much by their families still have to grapple with the challenges of mental illness. They still get sick. Love is important. It's not sufficient.”\u003c/p>\n\u003cp>It’s like that in \"Ferris Bueller,\" too. Cameron has a breakthrough at the end of the film. He decides he is not going to live in fear anymore. He is going to stand up to his dad. And all it took was a day off from school with his best friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"mental-health","label":"More Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Today’s teenagers, Emma and Elliot Singer, say, \"Yeah right.\"\u003c/p>\n\u003cp>“It’s not realistic,” Emma says.\u003c/p>\n\u003cp>“I kind of agree,” Elliot replies. “I think it was like an abrupt romanticized transition for him.”\u003c/p>\n\u003cp>Their dad makes his case, tries to bring them around. He says the themes from the movie back then are the same as they are now.\u003c/p>\n\u003cp>“We have different words and maybe we talk about it more with more specificity or more transparency, but they were all still there, right?” he says. “Anxiety for teenagers, anxiety about the future, where do you go to college. It's age-old.”\u003c/p>\n\u003cp>Elliot says, I dunno. It was funny. Maybe if she watches it another 11 times, she’ll see what her dad sees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/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/11750641/what-ferris-bueller-and-other-80s-movies-got-wrong-about-mental-health","authors":["3205"],"programs":["news_72"],"categories":["news_223","news_18540","news_457","news_8"],"tags":["news_25806","news_20634","news_2109","news_701","news_17041","news_25809"],"featImg":"news_11751313","label":"news_72"},"news_11716125":{"type":"posts","id":"news_11716125","meta":{"index":"posts_1591205157","site":"news","id":"11716125","score":null,"sort":[1546722175000]},"guestAuthors":[],"slug":"black-directors-had-a-big-year-in-2018-but-other-inclusion-numbers-stagnated","title":"Black Directors Had a Big Year in 2018, But Other Inclusion Numbers Stagnated","publishDate":1546722175,"format":"standard","headTitle":"KQED News","labelTerm":{},"content":"\u003cp>Black directors had a \"banner year\" in 2018, according to the \u003ca href=\"https://annenberg.usc.edu/research/aii\" rel=\"noopener\" target=\"_blank\">USC Annenberg Inclusion Initiative\u003c/a>. The organization, which tracks diversity in Hollywood, says there were 16 black directors with films among last year's 100 top-grossing scripted movies — a big leap from 2017, when there were only six.\u003c/p>\n\u003cp>The tally in 2018 is by far the most the Annenberg Inclusion Initiative has recorded in a single year, and it doubles the number found in 2007, the group's first year of data.\u003c/p>\n\u003cp>\"Now that studios have proven that they can hire Black directors in proportion to the population,\" the study's authors said in \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-directors-chair-2019.pdf\" rel=\"noopener\" target=\"_blank\">the report released Friday\u003c/a>, \"it becomes critical that they \u003cem>continue\u003c/em> to do so.\"\u003c/p>\n\u003cp>That said, the report did not offer much else for inclusion advocates to cheer. The director's chair and producers' offices remain overwhelmingly occupied by white men — and the group offered some stark numbers to illustrate how.\u003c/p>\n\u003cp>Just one of those 16 black directors — \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/09/04/492295111/ava-duvernay-and-queen-sugar-celebrating-diversity-inclusivity-in-tv\" rel=\"noopener\" target=\"_blank\">Ava DuVernay\u003c/a> — is a woman. And if one includes directors of all races, the number of women that helmed top-grossing films rises to just four. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That accords with another study, also \u003ca href=\"https://womenintvfilm.sdsu.edu/wp-content/uploads/2019/01/2018_Celluloid_Ceiling_Report.pdf\" rel=\"noopener\" target=\"_blank\">released this week\u003c/a> by San Diego State University's \u003ca href=\"https://womenintvfilm.sdsu.edu/about-us/\" rel=\"noopener\" target=\"_blank\">Center for the Study of Women in Television and Film\u003c/a>. The SDSU report, in expanding the scope of its survey, found that women also represented just 8 percent of the directors of the top 250 top-grossing films.\u003c/p>\n\u003cp>And last year's low numbers are no aberration.\u003c/p>\n\u003cp>\"They've been stagnant for over a decade, so these results are no surprise,\" \u003ca href=\"https://womenandhollywood.com/\" rel=\"noopener\" target=\"_blank\">Melissa Silverstein\u003c/a>, founder of Women and Hollywood, \u003ca href=\"https://www.npr.org/2019/01/03/682021541/study-shows-women-remain-underrepresented-in-the-directors-chair\" rel=\"noopener\" target=\"_blank\">tells NPR\u003c/a>.\u003c/p>\n\u003cp>Silverstein is not affiliated with either of the two surveys released this week, but as the publisher of her own website devoted to the issue, she says she has fought for more than a decade to see greater representation of women and people of color in Hollywood.\u003c/p>\n\u003cp>\"Really, what this is is about access to opportunities and access to capital,\" she says. \"Women have to be able to operate at the highest levels of the business, and that has been an area that has been very cut off for women and also people of color.\"\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">Oakland's Two Black Panthers: The Movie and the Movement\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/black1.jpeg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>The USC Annenberg Inclusion Initiative report also makes this point about the industry's highest levels, finding that white men make up more than 72 percent of the producers on the top 300 films of the past three years. And Silverstein says that proportion has a tendency to trickle down to all the positions on set.\u003c/p>\n\u003cp>\"The producers are the people who are the driving force of the film. They do the hiring,\" she says. \"So if you have a female producer who's pushing these movies along — and they could be pushing multiple movies along at the same time — then you are going to see a different kind of hiring that goes on.\"\u003c/p>\n\u003cp>Still, there are some signs that Hollywood may be lurching toward more inclusive hiring. Beyond the leap in the number of black directors — including Ryan Coogler, director of 2018's \u003ca href=\"https://www.boxofficemojo.com/yearly/chart/?p=.htm&yr=2018\" rel=\"noopener\" target=\"_blank\">highest-grossing film\u003c/a>, \u003cem>Black Panther\u003c/em> — a study \u003ca href=\"https://shift7.com/media-research\" rel=\"noopener\" target=\"_blank\">released just last month\u003c/a> showed that when a woman stars in a film, it does better at the box office worldwide.\u003c/p>\n\u003cp>And advocates say the same financial success can be repeated — if only women and people of color get the chance, not only in front of the camera but behind it as well.\u003c/p>\n\u003cp>\"While many of the numbers are bleak, transformation can occur rapidly by setting target inclusion goals, adopting transparency in hiring practices, and calling for broader industry change,\" say the authors of Friday's study.\u003c/p>\n\u003cp>\"As diverse storytellers flock from film to steaming platforms to tell their stories, the words of James Baldwin are a gentle reminder to movie executives: 'Those who say it can't be done are usually interrupted by others doing it.' \"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/p>\n\n","blocks":[],"excerpt":"Oakland native Ryan Coogler was one of 16 lack directors with films among last year's 100 top-grossing scripted movies — a big leap from 2017, when there were only six, according to a new study.","status":"publish","parent":0,"modified":1546722175,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":678},"headData":{"title":"Black Directors Had a Big Year in 2018, But Other Inclusion Numbers Stagnated | KQED","description":"Oakland native Ryan Coogler was one of 16 lack directors with films among last year's 100 top-grossing scripted movies — a big leap from 2017, when there were only six, according to a new study.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Black Directors Had a Big Year in 2018, But Other Inclusion Numbers Stagnated","datePublished":"2019-01-05T21:02:55.000Z","dateModified":"2019-01-05T21:02:55.000Z","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":"11716125 https://ww2.kqed.org/news/?p=11716125","disqusUrl":"https://ww2.kqed.org/news/2019/01/05/black-directors-had-a-big-year-in-2018-but-other-inclusion-numbers-stagnated/","disqusTitle":"Black Directors Had a Big Year in 2018, But Other Inclusion Numbers Stagnated","source":"NPR","sourceUrl":"https://www.npr.org/","nprImageCredit":"Jeff Spicer","nprByline":"\u003ca href=\"https://www.npr.org/people/432862355/colin-dwyer\">Colin Dwyer\u003c/a>\u003c/br>\u003ca href=\"https://www.npr.org/\">NPR\u003c/a>","nprImageAgency":"Getty Images","nprStoryId":"682260376","nprApiLink":"http://api.npr.org/query?id=682260376&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/01/04/682260376/black-directors-had-a-big-year-in-2018-but-other-inclusion-numbers-stagnated?ft=nprml&f=682260376","nprRetrievedStory":"1","nprPubDate":"Fri, 04 Jan 2019 17:15:00 -0500","nprStoryDate":"Fri, 04 Jan 2019 17:15:20 -0500","nprLastModifiedDate":"Fri, 04 Jan 2019 17:15:34 -0500","path":"/news/11716125/black-directors-had-a-big-year-in-2018-but-other-inclusion-numbers-stagnated","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black directors had a \"banner year\" in 2018, according to the \u003ca href=\"https://annenberg.usc.edu/research/aii\" rel=\"noopener\" target=\"_blank\">USC Annenberg Inclusion Initiative\u003c/a>. The organization, which tracks diversity in Hollywood, says there were 16 black directors with films among last year's 100 top-grossing scripted movies — a big leap from 2017, when there were only six.\u003c/p>\n\u003cp>The tally in 2018 is by far the most the Annenberg Inclusion Initiative has recorded in a single year, and it doubles the number found in 2007, the group's first year of data.\u003c/p>\n\u003cp>\"Now that studios have proven that they can hire Black directors in proportion to the population,\" the study's authors said in \u003ca href=\"http://assets.uscannenberg.org/docs/inclusion-in-the-directors-chair-2019.pdf\" rel=\"noopener\" target=\"_blank\">the report released Friday\u003c/a>, \"it becomes critical that they \u003cem>continue\u003c/em> to do so.\"\u003c/p>\n\u003cp>That said, the report did not offer much else for inclusion advocates to cheer. The director's chair and producers' offices remain overwhelmingly occupied by white men — and the group offered some stark numbers to illustrate how.\u003c/p>\n\u003cp>Just one of those 16 black directors — \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/09/04/492295111/ava-duvernay-and-queen-sugar-celebrating-diversity-inclusivity-in-tv\" rel=\"noopener\" target=\"_blank\">Ava DuVernay\u003c/a> — is a woman. And if one includes directors of all races, the number of women that helmed top-grossing films rises to just four. \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>That accords with another study, also \u003ca href=\"https://womenintvfilm.sdsu.edu/wp-content/uploads/2019/01/2018_Celluloid_Ceiling_Report.pdf\" rel=\"noopener\" target=\"_blank\">released this week\u003c/a> by San Diego State University's \u003ca href=\"https://womenintvfilm.sdsu.edu/about-us/\" rel=\"noopener\" target=\"_blank\">Center for the Study of Women in Television and Film\u003c/a>. The SDSU report, in expanding the scope of its survey, found that women also represented just 8 percent of the directors of the top 250 top-grossing films.\u003c/p>\n\u003cp>And last year's low numbers are no aberration.\u003c/p>\n\u003cp>\"They've been stagnant for over a decade, so these results are no surprise,\" \u003ca href=\"https://womenandhollywood.com/\" rel=\"noopener\" target=\"_blank\">Melissa Silverstein\u003c/a>, founder of Women and Hollywood, \u003ca href=\"https://www.npr.org/2019/01/03/682021541/study-shows-women-remain-underrepresented-in-the-directors-chair\" rel=\"noopener\" target=\"_blank\">tells NPR\u003c/a>.\u003c/p>\n\u003cp>Silverstein is not affiliated with either of the two surveys released this week, but as the publisher of her own website devoted to the issue, she says she has fought for more than a decade to see greater representation of women and people of color in Hollywood.\u003c/p>\n\u003cp>\"Really, what this is is about access to opportunities and access to capital,\" she says. \"Women have to be able to operate at the highest levels of the business, and that has been an area that has been very cut off for women and also people of color.\"\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">Oakland's Two Black Panthers: The Movie and the Movement\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/news/11650235/oaklands-two-black-panthers-the-movie-and-the-movement\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/black1.jpeg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>The USC Annenberg Inclusion Initiative report also makes this point about the industry's highest levels, finding that white men make up more than 72 percent of the producers on the top 300 films of the past three years. And Silverstein says that proportion has a tendency to trickle down to all the positions on set.\u003c/p>\n\u003cp>\"The producers are the people who are the driving force of the film. They do the hiring,\" she says. \"So if you have a female producer who's pushing these movies along — and they could be pushing multiple movies along at the same time — then you are going to see a different kind of hiring that goes on.\"\u003c/p>\n\u003cp>Still, there are some signs that Hollywood may be lurching toward more inclusive hiring. Beyond the leap in the number of black directors — including Ryan Coogler, director of 2018's \u003ca href=\"https://www.boxofficemojo.com/yearly/chart/?p=.htm&yr=2018\" rel=\"noopener\" target=\"_blank\">highest-grossing film\u003c/a>, \u003cem>Black Panther\u003c/em> — a study \u003ca href=\"https://shift7.com/media-research\" rel=\"noopener\" target=\"_blank\">released just last month\u003c/a> showed that when a woman stars in a film, it does better at the box office worldwide.\u003c/p>\n\u003cp>And advocates say the same financial success can be repeated — if only women and people of color get the chance, not only in front of the camera but behind it as well.\u003c/p>\n\u003cp>\"While many of the numbers are bleak, transformation can occur rapidly by setting target inclusion goals, adopting transparency in hiring practices, and calling for broader industry change,\" say the authors of Friday's study.\u003c/p>\n\u003cp>\"As diverse storytellers flock from film to steaming platforms to tell their stories, the words of James Baldwin are a gentle reminder to movie executives: 'Those who say it can't be done are usually interrupted by others doing it.' \"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11716125/black-directors-had-a-big-year-in-2018-but-other-inclusion-numbers-stagnated","authors":["byline_news_11716125"],"categories":["news_223","news_8"],"tags":["news_22591","news_701","news_3762","news_20896"],"featImg":"news_11716126","label":"source_news_11716125"}},"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. 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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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