Interview: Last Tango in Halifax's Anne Reid on American Fans, Derek Jacobi and Cabaret
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FM","link":"/"}},"about_8599":{"type":"posts","id":"about_8599","meta":{"index":"posts_1591205157","site":"about","id":"8599","score":null,"sort":[1490303124000]},"guestAuthors":[],"slug":"qa-with-sally-wainwright-writerdirector-of-to-walk-invisible","title":"Q&A with Sally Wainwright: Writer/Director of 'To Walk Invisible'","publishDate":1490303124,"format":"standard","headTitle":"On KQED Insider | On Q Exclusive Interviews | About KQED","labelTerm":{"term":25,"site":"about"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Fans of the actress Sarah Lancashire will recognize her as Caroline from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Tango in Halifax\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Catherine, the police sergeant in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Happy Valley. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">But t\u003c/span>\u003cspan style=\"font-weight: 400\">hey may not recognize \u003ca href=\"http://www.bbc.co.uk/programmes/b04k7b73\" target=\"_blank\">Sally Wainwright\u003c/a>, the creator and writer behind both of those British TV series. Wainwright has been writing for television since the 1990s, but these two programs in particular have slowly been raising awareness of her name, if not her face, to American audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to writing \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To Walk Invisible,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> a new biopic about the Brontë sisters (Anne, Emily and Charlotte), Wainwright also directed the film. During a recent telephone interview, Wainwright spoke about her interest in the Brontës, the origins of the project and what it felt like to write in the voice of someone from the 19th century.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What was your introduction to the Brontës' work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a teenager, I was first drawn to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wuthering Heights\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. As an adult, I've been much more engaged by Emily's poetry. I've never particularly got on with Charlotte's work, although she is very clever, obviously. It was because of her ambition and her drive that they ended up getting published. But I like Anne's \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tenant of Wildfell Hall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> best. That's my favorite novel. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up in West Yorkshire, about eight miles from Haworth [the village where the Brontës lived]. I visited the parsonage a lot when I was little. I've always known who the Brontë sisters were, and feel like they’re a part of my own personal culture.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_8603\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8603\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did \u003c/b>\u003cb>\u003ci>To Walk Invisible\u003c/i>\u003c/b>\u003cb> come about?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>About five years ago I was approached by the BBC. They wanted something to commemorate the bicentenary of Charlotte's birth, so they asked me if I would write a drama about the sisters' lives. It seemed to me that the most dramatic part of their lives was the last three years when they were all still together. I took a few liberties and a little bit of poetic license, but on the whole it fell very neatly into a dramatic structure. It's slightly truncated, obviously, because I've got to get three years into two hours, but I think it is pretty faithful to what happened in real life.\u003c/p>\n\u003cp>\u003cb>At the beginning of the program, there are fiery halos above the children’s heads. Did you use that imagery to reinforce or demystify the Brontë mythology?\u003c/b>\u003c/p>\n\u003cp>I wanted to demystify them. I wanted us to see them as they were before anybody imagined they would be famous. The halos of fire were meant to be about the magical world of childhood. It was probably the happiest time of their lives ,and they were on fire with their creative brilliance and imagination. I didn't want to mythologize them at all. I wanted to get away from that because I think they're mythologized too much.\u003c/p>\n\u003cfigure id=\"attachment_8604\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8604\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What made the three of them so unique?\u003c/b>\u003c/p>\n\u003cp>I don't think their circumstances created their genius. What's extraordinary about the Brontë family is that three very, very talented people . . . well, four very talented and intelligent people [including their brother Branwell] just happened to be born into the same family. That's the most extraordinary thing about them.\u003c/p>\n\u003cp>\u003cb>When you’re writing, is there any difference in the way that you hear 19th century characters as opposed to their counterparts in the 21st century?\u003c/b>\u003c/p>\n\u003cp>It took a long time for me to get the characters to speak in a way that I was happy with. I didn't want it to sound like other period dramas. We in the [television] industry have developed a language that is not necessarily authentic. We take everything from novels, and novels often use very heightened language. I wanted to try to re-create something that would both be accessible to modern ears and be a semblance of how they would have spoken in the past.\u003c/p>\n\u003cp>I listened to some very old tapes of recordings of ordinary people speaking. The oldest ones I could get hold of were like a 100 years old. It's really tricky to imagine what it would have been like. Even if one could know, it probably wouldn't work on television because it would be so remote and alien to how we speak now. It's like all TV dramas. It's a bit of a balancing act between authenticity and creating something that the audience will be engaged by and understand.\u003c/p>\n\u003cfigure id=\"attachment_8606\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8606\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg\" alt=\"Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1920x1079.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You grew up near the moors, and you have set several of your television series there. What does that particular landscape mean to your imagination?\u003c/b>\u003c/p>\n\u003cp>West Yorkshire, where I set a lot of my work, can be very bleak and intimidating, but it's also breathtakingly beautiful and dramatic. The area also has a very particular dialect. For me, it's about authenticity, so if I write something that's set there, and I use that landscape and I use that accent, it will feel very real to me, and I hope, in turn, it will feel very real to other people too.\u003c/p>\n\u003cp>\u003cb>For American audiences who aren’t familiar with your earlier work, what would you like them to watch?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first big series that I had on over here that was successful was called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">At Home with the Braithwaites.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It went four series over here and it was very successful. It was nominated for an Emmy actually, so it must have been on in America. Then I wrote a series in 2007 called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Amazing Mrs Pritchard,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which is very timely, actually, because it was about a supermarket manager becoming prime minister.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=24202\" target=\"_blank\">\u003cb>\u003ci>Masterpiece: To Walk Invisible: The Brontë Sisters\u003c/i>\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> airs Sunday, March 26 from 9 to 11pm on KQED 9.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1493663830,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1060},"headData":{"title":"Q&A with Sally Wainwright: Writer/Director of 'To Walk Invisible' | KQED","description":"Fans of the actress Sarah Lancashire will recognize her as Caroline from Last Tango in Halifax and Catherine, the police sergeant in Happy Valley. But they may not recognize Sally Wainwright, the creator and writer behind both of those British TV series. Wainwright has been writing for television since the 1990s, but these two programs","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Q&A with Sally Wainwright: Writer/Director of 'To Walk Invisible'","datePublished":"2017-03-23T21:05:24.000Z","dateModified":"2017-05-01T18:37:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"8599 https://ww2.kqed.org/about/?p=8599","disqusUrl":"https://ww2.kqed.org/about/2017/03/23/qa-with-sally-wainwright-writerdirector-of-to-walk-invisible/","disqusTitle":"Q&A with Sally Wainwright: Writer/Director of 'To Walk Invisible'","path":"/about/8599/qa-with-sally-wainwright-writerdirector-of-to-walk-invisible","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Fans of the actress Sarah Lancashire will recognize her as Caroline from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Last Tango in Halifax\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Catherine, the police sergeant in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Happy Valley. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">But t\u003c/span>\u003cspan style=\"font-weight: 400\">hey may not recognize \u003ca href=\"http://www.bbc.co.uk/programmes/b04k7b73\" target=\"_blank\">Sally Wainwright\u003c/a>, the creator and writer behind both of those British TV series. Wainwright has been writing for television since the 1990s, but these two programs in particular have slowly been raising awareness of her name, if not her face, to American audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to writing \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To Walk Invisible,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> a new biopic about the Brontë sisters (Anne, Emily and Charlotte), Wainwright also directed the film. During a recent telephone interview, Wainwright spoke about her interest in the Brontës, the origins of the project and what it felt like to write in the voice of someone from the 19th century.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What was your introduction to the Brontës' work?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a teenager, I was first drawn to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wuthering Heights\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. As an adult, I've been much more engaged by Emily's poetry. I've never particularly got on with Charlotte's work, although she is very clever, obviously. It was because of her ambition and her drive that they ended up getting published. But I like Anne's \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Tenant of Wildfell Hall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> best. That's my favorite novel. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up in West Yorkshire, about eight miles from Haworth [the village where the Brontës lived]. I visited the parsonage a lot when I was little. I've always known who the Brontë sisters were, and feel like they’re a part of my own personal culture.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_8603\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8603\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_06-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Emily Bronte (CHLOE PIRRIE).(Courtesy of Gary Moyes/ BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did \u003c/b>\u003cb>\u003ci>To Walk Invisible\u003c/i>\u003c/b>\u003cb> come about?\u003c/b>\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>About five years ago I was approached by the BBC. They wanted something to commemorate the bicentenary of Charlotte's birth, so they asked me if I would write a drama about the sisters' lives. It seemed to me that the most dramatic part of their lives was the last three years when they were all still together. I took a few liberties and a little bit of poetic license, but on the whole it fell very neatly into a dramatic structure. It's slightly truncated, obviously, because I've got to get three years into two hours, but I think it is pretty faithful to what happened in real life.\u003c/p>\n\u003cp>\u003cb>At the beginning of the program, there are fiery halos above the children’s heads. Did you use that imagery to reinforce or demystify the Brontë mythology?\u003c/b>\u003c/p>\n\u003cp>I wanted to demystify them. I wanted us to see them as they were before anybody imagined they would be famous. The halos of fire were meant to be about the magical world of childhood. It was probably the happiest time of their lives ,and they were on fire with their creative brilliance and imagination. I didn't want to mythologize them at all. I wanted to get away from that because I think they're mythologized too much.\u003c/p>\n\u003cfigure id=\"attachment_8604\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8604\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg\" alt=\"Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_11-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Anne Bronte (CHARLIE MURPHY) and Charlotte Bronte (FINN ATKINS). (Courtesy of Matt Squire/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What made the three of them so unique?\u003c/b>\u003c/p>\n\u003cp>I don't think their circumstances created their genius. What's extraordinary about the Brontë family is that three very, very talented people . . . well, four very talented and intelligent people [including their brother Branwell] just happened to be born into the same family. That's the most extraordinary thing about them.\u003c/p>\n\u003cp>\u003cb>When you’re writing, is there any difference in the way that you hear 19th century characters as opposed to their counterparts in the 21st century?\u003c/b>\u003c/p>\n\u003cp>It took a long time for me to get the characters to speak in a way that I was happy with. I didn't want it to sound like other period dramas. We in the [television] industry have developed a language that is not necessarily authentic. We take everything from novels, and novels often use very heightened language. I wanted to try to re-create something that would both be accessible to modern ears and be a semblance of how they would have spoken in the past.\u003c/p>\n\u003cp>I listened to some very old tapes of recordings of ordinary people speaking. The oldest ones I could get hold of were like a 100 years old. It's really tricky to imagine what it would have been like. Even if one could know, it probably wouldn't work on television because it would be so remote and alien to how we speak now. It's like all TV dramas. It's a bit of a balancing act between authenticity and creating something that the audience will be engaged by and understand.\u003c/p>\n\u003cfigure id=\"attachment_8606\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-8606\" src=\"https://ww2.kqed.org/about/wp-content/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg\" alt=\"Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE) For editorial use only.\" width=\"800\" height=\"449\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1020x573.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1920x1079.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/19/2017/03/To-Walk-Invisible_24-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Picture Shows (from left to right): Emily Bronte (CHLOE PIRRIE), Ann Bronte (CHARLIE MURPHY), and Charlotte Bronte (FINN ATKINS). (Courtesy of Michael Prince/BBC and MASTERPIECE)\u003cbr>For editorial use only.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You grew up near the moors, and you have set several of your television series there. What does that particular landscape mean to your imagination?\u003c/b>\u003c/p>\n\u003cp>West Yorkshire, where I set a lot of my work, can be very bleak and intimidating, but it's also breathtakingly beautiful and dramatic. The area also has a very particular dialect. For me, it's about authenticity, so if I write something that's set there, and I use that landscape and I use that accent, it will feel very real to me, and I hope, in turn, it will feel very real to other people too.\u003c/p>\n\u003cp>\u003cb>For American audiences who aren’t familiar with your earlier work, what would you like them to watch?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first big series that I had on over here that was successful was called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">At Home with the Braithwaites.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It went four series over here and it was very successful. It was nominated for an Emmy actually, so it must have been on in America. Then I wrote a series in 2007 called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Amazing Mrs Pritchard,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> which is very timely, actually, because it was about a supermarket manager becoming prime minister.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=24202\" target=\"_blank\">\u003cb>\u003ci>Masterpiece: To Walk Invisible: The Brontë Sisters\u003c/i>\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\"> airs Sunday, March 26 from 9 to 11pm on KQED 9.\u003c/span>\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>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/8599/qa-with-sally-wainwright-writerdirector-of-to-walk-invisible","authors":["42"],"programs":["about_25"],"series":["about_19"],"categories":["about_59","about_225"],"featImg":"about_8602","label":"about_25"},"about_7637":{"type":"posts","id":"about_7637","meta":{"index":"posts_1591205157","site":"about","id":"7637","score":null,"sort":[1476725394000]},"guestAuthors":[],"slug":"interview-john-sepulvado","title":"Interview: John Sepulvado","publishDate":1476725394,"format":"aside","headTitle":"On KQED Insider | On Q Exclusive Interviews | About KQED","labelTerm":{"term":25,"site":"about"},"content":"\u003cfigure id=\"attachment_7643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-7643 size-medium\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-800x533.jpg\" alt=\"Portland, OR - DECEMBER 14 : Photographed on December 14, 2014 at the in Portland, Oregon. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, user is consenting to the terms and conditions of Cameron Browne Photography. Mandatory Copyright Notice: Copyright 2014 (Photo by Cameron Browne)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Copyright 2014, photo by Cameron Browne\u003c/figcaption>\u003c/figure>\n\u003cp>This summer brought a new voice to the weekday morning broadcast of KQED Public Radio’s \u003ca href=\"https://ww2.kqed.org/news/programs/the-california-report/\">\u003cem>The California Report.\u003c/em>\u003c/a> John Sepulvado joined KQED from Oregon Public Broadcasting (OPB), where he’d been the local host and executive producer of the flagship NPR weekend news program \u003cem>Weekend Edition. \u003c/em>\u003c/p>\n\u003cp>One month in, John sat down to answer some questions and give a lesson on mixing metaphors.\u003c/p>\n\u003cp>\u003cstrong>Are you a morning person?\u003c/strong>\u003cbr>\nYes!\u003c/p>\n\u003cp>\u003cstrong>That helps! So what attracted you to KQED? Your gig at OPB was pretty—\u003c/strong>\u003cbr>\nIt was plum.\u003c/p>\n\u003cp>\u003cstrong>Was it that KQED is a much bigger station, with a bigger audience, or was it something more than that?\u003c/strong>\u003cbr>\nI think the hiring of News Managing Editor \u003ca href=\"https://ww2.kqed.org/about/2016/09/19/interview-ethan-lindsey/\">Ethan Lindsey\u003c/a> really made me look at KQED. Also Executive Editor \u003ca href=\"https://ww2.kqed.org/about/2015/03/01/interview-kqeds-holly-kernan/\">Holly Kernan\u003c/a>. And I want to make it clear, I don’t suck up to my bosses, but Holly is someone who, when you look at what she did at KALW and you look at the staffing resources and the budget resources, you think, “How do I not want to be part of this?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I love Portland. I love Oregon. It was a really difficult decision, but I’m a native Californian. This feels like home in a way that Portland, as much as I love it, just didn’t. Not only that, I care about California greatly. Every day I’m allowed to help tell stories from the state and to bring up issues that perhaps might not be told elsewhere. That’s a really big responsibility. I’m up for the challenges.\u003c/p>\n\u003cp>\u003cstrong> What are the challenges?\u003c/strong>\u003cbr>\nWell, the first is time. I wish I had more time. The show is seven and a half minutes long. Trying to decide what stays in a story and what doesn’t is the professional equivalent of trying to decide which child you like better. I have to “pick children” really, really quickly, early in the morning.\u003c/p>\n\u003cp>The second challenge, and the reason I want more time, is that there are so many interesting characters, stories and narratives in California. Then, on top of that, there are really complex issues to cover. It’s been challenging to figure out how to distill all that down and best tell it in seven and a half minutes.\u003c/p>\n\u003cp>Honestly, I wish I had two hours. I think we could fill it. But seven and a half minutes is a good start.\u003c/p>\n\u003cp>\u003cstrong> What's your vision for your role as \u003cem>The California Report\u003c/em> host?\u003c/strong>\u003cbr>\nWell, one thing that must be recognized is that this is the house that Scott Shafer and Ingrid Becker built. Very early on in my career, I worked as the morning host at KAZU in Monterey, and I remember Scott coming on live and that there was a feeling that if he was saying it, it was important. I want to find a way to keep that feeling going.\u003c/p>\n\u003cp>And if we continue this house metaphor through, we must acknowledge that this house was built largely on policy and politics. I love policy and politics. I also love the arts. And tech. I’m a tech nerd, and I think that we have an obligation, given that big changes in humanity are probably going to come through Silicon Valley, to enhance our coverage there.\u003c/p>\n\u003cp>There are a lot of other stories that don’t necessarily have to do with straight policy, but that are incredibly important threads in the quilt that is California.\u003c/p>\n\u003cp>\u003cstrong> Right.\u003cbr>\n\u003c/strong>So, you have about six metaphors there you can choose from, but to get back to my original point, I want to see how we can add these other things without losing the policy and the politics that people have come to rely on. We're looking toward that.\u003c/p>\n\u003cp>\u003cstrong>Is launching a podcast something you are talking about?\u003c/strong>\u003cbr>\nI think that great content will find its way to the proper medium. Right now I'm focused on getting my hosting chops down and establishing a rapport with our core listeners. That said, I have a background in show production. I created \u003cem>CNN Newsday, \u003c/em>which was a very successful podcast. In fact, it was so successful that it drove itself out of business, which just shows the lunacy of CNN. And that is on the record! I’m also really proud of a show I created about the music industry called \u003cem>The Future of What, \u003c/em>which has become the go-to podcast radio show for the music industry. My point is that, when that time comes, I feel very confident we'll be able to execute a podcast, but right now, that's not my focus.\u003c/p>\n\u003cp>\u003cstrong>Is there a recent KQED story that’s stuck with you?\u003cbr>\n\u003c/strong>I think the story that really shows the power of KQED, encapsulates why it’s important to be a member of KQED and why it’s important that members’ contributions help employ really talented journalists and strong editorial leadership, is the \u003ca href=\"https://ww2.kqed.org/news/tag/night-shift/\">\u003cem>Rape on the Night Shift \u003c/em>\u003c/a>series. It really opened my eyes to both the necessity and the promise of our reporting. I don’t have something of mine to talk about, and I’m fine with that. Right now I’m looking at my colleagues and thinking, “Holy heck, I’d better up my game.”\u003c/p>\n\u003cp>\u003cstrong>It’s like if you’re playing a sport with people who are more experienced or better than you are, you have to step it up or you’re not going to play\u003c/strong>\u003cstrong>.\u003c/strong>\u003cbr>\nYeah. You’re going to sit the bench. I’m not about to sit on the bench, in this house, under a quilt that is California.\u003c/p>\n\u003cp>\u003cstrong>With your least favorite child! Okay, last question. Do you have a guilty pleasure?\u003c/strong>\u003cbr>\nMy guilty pleasure is that in the mornings, while Brian Watt and I are bantering back and forth, I will set him up to say something dumb in front of everybody. Because we are going back and forth so quickly, I leave him in a space where he has to say something that he didn't mean. I enjoy getting his goat.\u003c/p>\n\u003cp>There are four of us who come into the KQED newsroom every day between 4 and 5am, and there are a lot of quick jokes, a lot of things that you might not find in a more populated office setting. There's a guilty pleasure in the teasing and the ribbing that goes on. It's cool to be a part of that team, and I like to tweak them a little bit, here and there. I guess I shouldn't say that though!\u003c/p>\n\u003cp>Also, Taylor Swift. I listen to Taylor Swift.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>My brother is a music professor, and he believes that Taylor Swift, specifically her chord progressions, is ruining America. On his wedding day, he went into this rant about Taylor Swift. I was on the fence about her. I shook it off sometimes, but after that day I knew that if he didn’t like her, that’s what I needed to be about!\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1476725785,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1216},"headData":{"title":"Interview: John Sepulvado | KQED","description":"This summer brought a new voice to the weekday morning broadcast of KQED Public Radio’s The California Report. John Sepulvado joined KQED from Oregon Public Broadcasting (OPB), where he’d been the local host and executive producer of the flagship NPR weekend news program Weekend Edition. One month in, John sat down to answer some questions","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: John Sepulvado","datePublished":"2016-10-17T17:29:54.000Z","dateModified":"2016-10-17T17:36:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"7637 http://ww2.kqed.org/about?p=7637&preview_id=7637","disqusUrl":"https://ww2.kqed.org/about/2016/10/17/interview-john-sepulvado/","disqusTitle":"Interview: John Sepulvado","path":"/about/7637/interview-john-sepulvado","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_7643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-7643 size-medium\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-800x533.jpg\" alt=\"Portland, OR - DECEMBER 14 : Photographed on December 14, 2014 at the in Portland, Oregon. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, user is consenting to the terms and conditions of Cameron Browne Photography. Mandatory Copyright Notice: Copyright 2014 (Photo by Cameron Browne)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/19/2016/10/John-supulvado-credit-Cameron-Browne-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Copyright 2014, photo by Cameron Browne\u003c/figcaption>\u003c/figure>\n\u003cp>This summer brought a new voice to the weekday morning broadcast of KQED Public Radio’s \u003ca href=\"https://ww2.kqed.org/news/programs/the-california-report/\">\u003cem>The California Report.\u003c/em>\u003c/a> John Sepulvado joined KQED from Oregon Public Broadcasting (OPB), where he’d been the local host and executive producer of the flagship NPR weekend news program \u003cem>Weekend Edition. \u003c/em>\u003c/p>\n\u003cp>One month in, John sat down to answer some questions and give a lesson on mixing metaphors.\u003c/p>\n\u003cp>\u003cstrong>Are you a morning person?\u003c/strong>\u003cbr>\nYes!\u003c/p>\n\u003cp>\u003cstrong>That helps! So what attracted you to KQED? Your gig at OPB was pretty—\u003c/strong>\u003cbr>\nIt was plum.\u003c/p>\n\u003cp>\u003cstrong>Was it that KQED is a much bigger station, with a bigger audience, or was it something more than that?\u003c/strong>\u003cbr>\nI think the hiring of News Managing Editor \u003ca href=\"https://ww2.kqed.org/about/2016/09/19/interview-ethan-lindsey/\">Ethan Lindsey\u003c/a> really made me look at KQED. Also Executive Editor \u003ca href=\"https://ww2.kqed.org/about/2015/03/01/interview-kqeds-holly-kernan/\">Holly Kernan\u003c/a>. And I want to make it clear, I don’t suck up to my bosses, but Holly is someone who, when you look at what she did at KALW and you look at the staffing resources and the budget resources, you think, “How do I not want to be part of this?”\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 love Portland. I love Oregon. It was a really difficult decision, but I’m a native Californian. This feels like home in a way that Portland, as much as I love it, just didn’t. Not only that, I care about California greatly. Every day I’m allowed to help tell stories from the state and to bring up issues that perhaps might not be told elsewhere. That’s a really big responsibility. I’m up for the challenges.\u003c/p>\n\u003cp>\u003cstrong> What are the challenges?\u003c/strong>\u003cbr>\nWell, the first is time. I wish I had more time. The show is seven and a half minutes long. Trying to decide what stays in a story and what doesn’t is the professional equivalent of trying to decide which child you like better. I have to “pick children” really, really quickly, early in the morning.\u003c/p>\n\u003cp>The second challenge, and the reason I want more time, is that there are so many interesting characters, stories and narratives in California. Then, on top of that, there are really complex issues to cover. It’s been challenging to figure out how to distill all that down and best tell it in seven and a half minutes.\u003c/p>\n\u003cp>Honestly, I wish I had two hours. I think we could fill it. But seven and a half minutes is a good start.\u003c/p>\n\u003cp>\u003cstrong> What's your vision for your role as \u003cem>The California Report\u003c/em> host?\u003c/strong>\u003cbr>\nWell, one thing that must be recognized is that this is the house that Scott Shafer and Ingrid Becker built. Very early on in my career, I worked as the morning host at KAZU in Monterey, and I remember Scott coming on live and that there was a feeling that if he was saying it, it was important. I want to find a way to keep that feeling going.\u003c/p>\n\u003cp>And if we continue this house metaphor through, we must acknowledge that this house was built largely on policy and politics. I love policy and politics. I also love the arts. And tech. I’m a tech nerd, and I think that we have an obligation, given that big changes in humanity are probably going to come through Silicon Valley, to enhance our coverage there.\u003c/p>\n\u003cp>There are a lot of other stories that don’t necessarily have to do with straight policy, but that are incredibly important threads in the quilt that is California.\u003c/p>\n\u003cp>\u003cstrong> Right.\u003cbr>\n\u003c/strong>So, you have about six metaphors there you can choose from, but to get back to my original point, I want to see how we can add these other things without losing the policy and the politics that people have come to rely on. We're looking toward that.\u003c/p>\n\u003cp>\u003cstrong>Is launching a podcast something you are talking about?\u003c/strong>\u003cbr>\nI think that great content will find its way to the proper medium. Right now I'm focused on getting my hosting chops down and establishing a rapport with our core listeners. That said, I have a background in show production. I created \u003cem>CNN Newsday, \u003c/em>which was a very successful podcast. In fact, it was so successful that it drove itself out of business, which just shows the lunacy of CNN. And that is on the record! I’m also really proud of a show I created about the music industry called \u003cem>The Future of What, \u003c/em>which has become the go-to podcast radio show for the music industry. My point is that, when that time comes, I feel very confident we'll be able to execute a podcast, but right now, that's not my focus.\u003c/p>\n\u003cp>\u003cstrong>Is there a recent KQED story that’s stuck with you?\u003cbr>\n\u003c/strong>I think the story that really shows the power of KQED, encapsulates why it’s important to be a member of KQED and why it’s important that members’ contributions help employ really talented journalists and strong editorial leadership, is the \u003ca href=\"https://ww2.kqed.org/news/tag/night-shift/\">\u003cem>Rape on the Night Shift \u003c/em>\u003c/a>series. It really opened my eyes to both the necessity and the promise of our reporting. I don’t have something of mine to talk about, and I’m fine with that. Right now I’m looking at my colleagues and thinking, “Holy heck, I’d better up my game.”\u003c/p>\n\u003cp>\u003cstrong>It’s like if you’re playing a sport with people who are more experienced or better than you are, you have to step it up or you’re not going to play\u003c/strong>\u003cstrong>.\u003c/strong>\u003cbr>\nYeah. You’re going to sit the bench. I’m not about to sit on the bench, in this house, under a quilt that is California.\u003c/p>\n\u003cp>\u003cstrong>With your least favorite child! Okay, last question. Do you have a guilty pleasure?\u003c/strong>\u003cbr>\nMy guilty pleasure is that in the mornings, while Brian Watt and I are bantering back and forth, I will set him up to say something dumb in front of everybody. Because we are going back and forth so quickly, I leave him in a space where he has to say something that he didn't mean. I enjoy getting his goat.\u003c/p>\n\u003cp>There are four of us who come into the KQED newsroom every day between 4 and 5am, and there are a lot of quick jokes, a lot of things that you might not find in a more populated office setting. There's a guilty pleasure in the teasing and the ribbing that goes on. It's cool to be a part of that team, and I like to tweak them a little bit, here and there. I guess I shouldn't say that though!\u003c/p>\n\u003cp>Also, Taylor Swift. I listen to Taylor Swift.\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>My brother is a music professor, and he believes that Taylor Swift, specifically her chord progressions, is ruining America. On his wedding day, he went into this rant about Taylor Swift. I was on the fence about her. I shook it off sometimes, but after that day I knew that if he didn’t like her, that’s what I needed to be about!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/7637/interview-john-sepulvado","authors":["6626"],"programs":["about_25"],"series":["about_19"],"categories":["about_225"],"tags":["about_302","about_35"],"featImg":"about_7643","label":"about_25"},"about_7513":{"type":"posts","id":"about_7513","meta":{"index":"posts_1591205157","site":"about","id":"7513","score":null,"sort":[1474300326000]},"guestAuthors":[],"slug":"interview-ethan-lindsey","title":"Interview: Ethan Lindsey","publishDate":1474300326,"format":"aside","headTitle":"On KQED Insider | On Q Exclusive Interviews | About KQED","labelTerm":{"term":25,"site":"about"},"content":"\u003cp>\u003cimg class=\"alignnone wp-image-7517 size-full\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2016/09/ethan-lindsey-cropped.jpg\" width=\"590\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped.jpg 590w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-150x150.jpg 150w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003c/p>\n\u003cp>This summer Ethan Lindsey (@ethan_lindsey) returned to his native West Coast to join KQED in the newly created position of managing editor for news. Before his arrival, he told us, “I’m most excited about the mandate to help KQED explore new outlets for its journalism, as well as deepening its digital, video and data coverage.” He spoke more about his role after about a month on the job.\u003c/p>\n\u003cp>\u003cstrong>Tell me a bit about your path here and what your job entails.\u003c/strong>\u003cbr>\nMost recently I was the senior managing editor for Here and Now at WBUR in Boston. Prior to that, I worked at Marketplace, the business show, in a number of roles including as the interim managing editor and the senior digital editor.\u003c/p>\n\u003cp>Any managing editor is going to be involved and interested in how stories are crafted, but since KQED has such strong senior editors and editorial leadership, my role, as it is evolving, is more about making sure the reporters and editors and the whole staff know how we’re covering stories, why we’re covering them and how we’re refining our workflow.\u003c/p>\n\u003cp>KQED News has moved from beat-focused reporting (“You cover the courts, you cover this specific neighborhood”) to a hub system. The idea is that you put reporters and editors in a pod — we have pods covering justice, community, health and equity and more — and they decide how to cover a story and how deeply to cover it. So when something happens like the Oakland Police scandal, we can cover it from various angles that uniquely inform our listeners and readers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I accepted this job, I didn’t realize how big KQED’s audience is relative to other public radio stations and how stations around the country look to KQED to be a leader. It’s exciting to get to be part of that leadership!\u003c/p>\n\u003cp>\u003cstrong>How do you see radio vis-à-vis other forms of media?\u003c/strong>\u003cbr>\nRadio is actually well positioned in the “attention economy,” where you only have 24 hours total, minus sleep, to actually do stuff. We can double up — multitask. You can play Angry Birds and still listen to the news. You can play Pokémon Go and still listen to the news. Whereas if you’re reading the newspaper, you’re reading the newspaper. If you’re watching TV, it’s hard to do different things. I think that in a world of augmented reality and virtual reality and self-driving cars, radio is probably better positioned than almost any\u003cbr>\nother medium.\u003c/p>\n\u003cp>\u003cstrong>What’s exciting you about the coming year of coverage? \u003c/strong>\u003cbr>\nHonestly, there’s just too much! For the election we’re launching an online Voter Guide to allow users to dig deep on the state ballot propositions and all sorts of other issues — and it’s built to look great on your cell phone.\u003c/p>\n\u003cp>Then we’ll be creating a host of new podcasts that will help to feed our audience’s curiosity and their desire to hear the best stories from around the region.\u003c/p>\n\u003cp>And next year we’ll be working with other public radio stations in the state to look at whether the California Dream still exists (I’m pretty sure it does … it just looks a lot different!). We’ll also be developing partnerships with media and tech companies to find new and better ways to get our stories into the minds and hearts of people in this state and region.\u003c/p>\n\u003cp>\u003cstrong>On a more personal note, do you have a guilty pleasure?\u003c/strong>\u003cbr>\nI am a rabid Cal football fan. I’ve flown back to the states from Germany and from Hong Kong for big games. But I don’t feel guilty about that!\u003c/p>\n\u003cp>I’m trying to think what about what my wife, my family, would be embarrassed about. The KQED newsroom has already learned that I’m loud. If I get excited, I will let people know. My son has started to take after me, and I have to say, “No. Use an inside voice!”\u003c/p>\n\u003cp>In a newsroom, in the heat of the moment, you can be loud. It’s a good place for me because I can be abnormally loud and not be completely criticized for it, whereas I probably would be in much quieter workplaces.\u003c/p>\n\u003cp>\u003cstrong>You could not be a librarian.\u003c/strong>\u003cbr>\nNo. I could not be a librarian.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1474300326,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":772},"headData":{"title":"Interview: Ethan Lindsey | KQED","description":"This summer Ethan Lindsey (@ethan_lindsey) returned to his native West Coast to join KQED in the newly created position of managing editor for news. Before his arrival, he told us, “I’m most excited about the mandate to help KQED explore new outlets for its journalism, as well as deepening its digital, video and data coverage.”","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Ethan Lindsey","datePublished":"2016-09-19T15:52:06.000Z","dateModified":"2016-09-19T15:52:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"7513 http://ww2.kqed.org/about?p=7513&preview_id=7513","disqusUrl":"https://ww2.kqed.org/about/2016/09/19/interview-ethan-lindsey/","disqusTitle":"Interview: Ethan Lindsey","path":"/about/7513/interview-ethan-lindsey","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"alignnone wp-image-7517 size-full\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2016/09/ethan-lindsey-cropped.jpg\" width=\"590\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped.jpg 590w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/19/2016/09/ethan-lindsey-cropped-150x150.jpg 150w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003c/p>\n\u003cp>This summer Ethan Lindsey (@ethan_lindsey) returned to his native West Coast to join KQED in the newly created position of managing editor for news. Before his arrival, he told us, “I’m most excited about the mandate to help KQED explore new outlets for its journalism, as well as deepening its digital, video and data coverage.” He spoke more about his role after about a month on the job.\u003c/p>\n\u003cp>\u003cstrong>Tell me a bit about your path here and what your job entails.\u003c/strong>\u003cbr>\nMost recently I was the senior managing editor for Here and Now at WBUR in Boston. Prior to that, I worked at Marketplace, the business show, in a number of roles including as the interim managing editor and the senior digital editor.\u003c/p>\n\u003cp>Any managing editor is going to be involved and interested in how stories are crafted, but since KQED has such strong senior editors and editorial leadership, my role, as it is evolving, is more about making sure the reporters and editors and the whole staff know how we’re covering stories, why we’re covering them and how we’re refining our workflow.\u003c/p>\n\u003cp>KQED News has moved from beat-focused reporting (“You cover the courts, you cover this specific neighborhood”) to a hub system. The idea is that you put reporters and editors in a pod — we have pods covering justice, community, health and equity and more — and they decide how to cover a story and how deeply to cover it. So when something happens like the Oakland Police scandal, we can cover it from various angles that uniquely inform our listeners and readers.\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>When I accepted this job, I didn’t realize how big KQED’s audience is relative to other public radio stations and how stations around the country look to KQED to be a leader. It’s exciting to get to be part of that leadership!\u003c/p>\n\u003cp>\u003cstrong>How do you see radio vis-à-vis other forms of media?\u003c/strong>\u003cbr>\nRadio is actually well positioned in the “attention economy,” where you only have 24 hours total, minus sleep, to actually do stuff. We can double up — multitask. You can play Angry Birds and still listen to the news. You can play Pokémon Go and still listen to the news. Whereas if you’re reading the newspaper, you’re reading the newspaper. If you’re watching TV, it’s hard to do different things. I think that in a world of augmented reality and virtual reality and self-driving cars, radio is probably better positioned than almost any\u003cbr>\nother medium.\u003c/p>\n\u003cp>\u003cstrong>What’s exciting you about the coming year of coverage? \u003c/strong>\u003cbr>\nHonestly, there’s just too much! For the election we’re launching an online Voter Guide to allow users to dig deep on the state ballot propositions and all sorts of other issues — and it’s built to look great on your cell phone.\u003c/p>\n\u003cp>Then we’ll be creating a host of new podcasts that will help to feed our audience’s curiosity and their desire to hear the best stories from around the region.\u003c/p>\n\u003cp>And next year we’ll be working with other public radio stations in the state to look at whether the California Dream still exists (I’m pretty sure it does … it just looks a lot different!). We’ll also be developing partnerships with media and tech companies to find new and better ways to get our stories into the minds and hearts of people in this state and region.\u003c/p>\n\u003cp>\u003cstrong>On a more personal note, do you have a guilty pleasure?\u003c/strong>\u003cbr>\nI am a rabid Cal football fan. I’ve flown back to the states from Germany and from Hong Kong for big games. But I don’t feel guilty about that!\u003c/p>\n\u003cp>I’m trying to think what about what my wife, my family, would be embarrassed about. The KQED newsroom has already learned that I’m loud. If I get excited, I will let people know. My son has started to take after me, and I have to say, “No. Use an inside voice!”\u003c/p>\n\u003cp>In a newsroom, in the heat of the moment, you can be loud. It’s a good place for me because I can be abnormally loud and not be completely criticized for it, whereas I probably would be in much quieter workplaces.\u003c/p>\n\u003cp>\u003cstrong>You could not be a librarian.\u003c/strong>\u003cbr>\nNo. I could not be a librarian.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/7513/interview-ethan-lindsey","authors":["6626"],"programs":["about_25"],"series":["about_19"],"categories":["about_225"],"tags":["about_299","about_243","about_300"],"featImg":"about_7517","label":"about_25"},"about_5790":{"type":"posts","id":"about_5790","meta":{"index":"posts_1591205157","site":"about","id":"5790","score":null,"sort":[1450716651000]},"guestAuthors":[],"slug":"interview-detour-andrew-mason","title":"Interview: Detour's Andrew Mason","publishDate":1450716651,"format":"aside","headTitle":"On KQED Insider | About KQED","labelTerm":{"term":19,"site":"about"},"content":"\u003cp>As part of KQED’s continued pursuit of new ways to tell stories and involve audiences more deeply, we’ve partnered with \u003ca href=\"http://www.detour.com\" target=\"_blank\">Detour\u003c/a> — a city guide app (for iPhone now; Android version expected in early 2016) that reimagines audio tours — to create location-based documentaries about three of San Francisco’s most iconic neighborhoods.\u003c/p>\n\u003cp>KQED’s first tour, available now and narrated by the inimitable Peter Coyote, takes you through the history of the Haight-Ashbury. In the pop culture version of the 1960s, the “summer of love” is all tie-dye, peace and free love. But in reality, things got dark. Very dark. On the Haight-Ashbury tour, Peter Coyote tells both sides of the story. Walks through the Mission and Chinatown are coming in early 2016.\u003c/p>\n\u003cp>KQED spoke to Andrew Mason, Detour founder and CEO, about the history of the project and plans for the future.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Andrew-Mason.jpg\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Andrew-Mason-800x533.jpg\" alt=\"Andrew Mason\" width=\"375\" height=\"250\">\u003c/a>What's the story of how Detour came to be.\u003cbr>\n\u003c/strong>It's something that I've been thinking about since I was in my mid-20s and was traveling with my now wife. We wanted context for the places we visited. We wanted to connect with the people somehow, but we didn't like the options that were available. Going on a guided walking tour put us in a group with a bunch of other tourists on somebody else's schedule and made us feel like we weren't really getting an authentic experience.\u003c/p>\n\u003cp>While I was running Groupon, the iPhone came out, and I started to think about what you could do with that supercomputer in your pocket. Audio tours can be cinematic experiences that get you closer to the feeling of walking in another person's shoes than any other medium can. It becomes a really powerful way to connect with other people, using place as the conduit, and I got really excited about Detour's potential to take people on journeys in a way that permanently affects their point of view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why did you want to partner with KQED?\u003cbr>\n\u003c/strong>KQED has a long-standing reputation for documenting the Bay Area and for great storytelling, including great audio storytelling. Partnering with KQED was a way to get some of the best storytellers in the world creating for this new platform.\u003c/p>\n\u003cp>\u003cstrong>What do you see in Detour's future?\u003cbr>\n\u003c/strong>We really think this is how people want to travel and connect to places. They want to feel an authentic connection with an understanding about what makes a place different from all the other places they could visit in the world.\u003c/p>\n\u003cp>With Detour, the layers of a place's history are brought to life. You're walking around inside a movie. I hope we can make Detour something that starts to feel like an essential companion for people when they travel.\u003c/p>\n\u003cp>\u003cstrong>Do you have a favorite San Francisco tour?\u003cbr>\n\u003c/strong>My favorite, at this point, is probably a little bit unexpected. It's our walk through the Tenderloin. What I love about \u003ca href=\"https://www.detour.com/san-francisco\">Detour San Francisco\u003c/a> is that not only do we go through the places that make this city famous, like the Haight and the Castro, but we also try to take people places that are perhaps a little bit gritty — where you wouldn't likely go on your own because you wouldn't know what do to when you got there. This walk gives people something to do in the Tenderloin. It’s narrated by people who live in the neighborhood, who call it home and love it for what it is. After the tour, there's no way you'll ever think of the Tenderloin quite the same again.\u003c/p>\n\u003cp>I love it when a Detour can do that — take you somewhere that feels unfamiliar or toward which you feel judgmental and give you an experience that opens your mind.\u003c/p>\n\u003cp>\u003cstrong>When you are approaching a new city, how do you find the people who help tell the stories?\u003c/strong>\u003cbr>\nWe first try to figure out what you need to know in order to understand a city. We usually have a local who's overseeing that process, and we're combining their insights with the stuff we know people want to see when they visit. \u003c/p>\n\u003cp>Then we ask: who is the right person to tell this story? We love it when we can find somebody who has a personal connection. That's why we have Cleve Jones taking you through the Castro and Peter Coyote taking you through the Haight. They give you a version of the story that you just couldn't get anywhere else.\u003c/p>\n\u003cp>At other times it's better to get a journalist or a producer to tell the story. We just try to find somebody you're going to want to spend an hour with, someone who feels like a good fit for the story we're trying to tell.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Detour-Haight.jpg\">\u003cimg class=\"alignleft wp-image-4486 size-full\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Detour-Haight.jpg\" alt=\"Detour-Haight\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Anything else you'd like to add?\u003cbr>\n\u003c/strong>I'll just say that we look at Detour San Francisco as a documentary of the city in multiple episodes. Our hope is that in taking this collection of Detours, people will gain a perspective of and connection to the city that even longtime residents might not have.\u003c/p>\n\u003cp>Having lived here for a couple of years now, working on Detour, I know infinitely more about San Francisco and feel more of a sense of connection with and reverence for the city than I ever had in Chicago, where I lived for 15 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The other thing I haven't talked about is just how fun Detour is to do with other people. One of the key things that we built into Detour is group synchronization. Multiple phones can sync up, and you can have the experience socially. It's like seeing a movie together. It's a really, really fun thing to do. For tourist and locals. I’d say it's the most fun you can have in your own city. But I'm biased, of course!\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1450733588,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1010},"headData":{"title":"Interview: Detour's Andrew Mason | KQED","description":"As part of KQED’s continued pursuit of new ways to tell stories and involve audiences more deeply, we’ve partnered with Detour — a city guide app (for iPhone now; Android version expected in early 2016) that reimagines audio tours — to create location-based documentaries about three of San Francisco’s most iconic neighborhoods. KQED’s first tour,","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Detour's Andrew Mason","datePublished":"2015-12-21T16:50:51.000Z","dateModified":"2015-12-21T21:33:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"5790 http://ww2.kqed.org/about/?p=5790","disqusUrl":"https://ww2.kqed.org/about/2015/12/21/interview-detour-andrew-mason/","disqusTitle":"Interview: Detour's Andrew Mason","path":"/about/5790/interview-detour-andrew-mason","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As part of KQED’s continued pursuit of new ways to tell stories and involve audiences more deeply, we’ve partnered with \u003ca href=\"http://www.detour.com\" target=\"_blank\">Detour\u003c/a> — a city guide app (for iPhone now; Android version expected in early 2016) that reimagines audio tours — to create location-based documentaries about three of San Francisco’s most iconic neighborhoods.\u003c/p>\n\u003cp>KQED’s first tour, available now and narrated by the inimitable Peter Coyote, takes you through the history of the Haight-Ashbury. In the pop culture version of the 1960s, the “summer of love” is all tie-dye, peace and free love. But in reality, things got dark. Very dark. On the Haight-Ashbury tour, Peter Coyote tells both sides of the story. Walks through the Mission and Chinatown are coming in early 2016.\u003c/p>\n\u003cp>KQED spoke to Andrew Mason, Detour founder and CEO, about the history of the project and plans for the future.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Andrew-Mason.jpg\">\u003cimg class=\"alignleft\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Andrew-Mason-800x533.jpg\" alt=\"Andrew Mason\" width=\"375\" height=\"250\">\u003c/a>What's the story of how Detour came to be.\u003cbr>\n\u003c/strong>It's something that I've been thinking about since I was in my mid-20s and was traveling with my now wife. We wanted context for the places we visited. We wanted to connect with the people somehow, but we didn't like the options that were available. Going on a guided walking tour put us in a group with a bunch of other tourists on somebody else's schedule and made us feel like we weren't really getting an authentic experience.\u003c/p>\n\u003cp>While I was running Groupon, the iPhone came out, and I started to think about what you could do with that supercomputer in your pocket. Audio tours can be cinematic experiences that get you closer to the feeling of walking in another person's shoes than any other medium can. It becomes a really powerful way to connect with other people, using place as the conduit, and I got really excited about Detour's potential to take people on journeys in a way that permanently affects their point of view.\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>Why did you want to partner with KQED?\u003cbr>\n\u003c/strong>KQED has a long-standing reputation for documenting the Bay Area and for great storytelling, including great audio storytelling. Partnering with KQED was a way to get some of the best storytellers in the world creating for this new platform.\u003c/p>\n\u003cp>\u003cstrong>What do you see in Detour's future?\u003cbr>\n\u003c/strong>We really think this is how people want to travel and connect to places. They want to feel an authentic connection with an understanding about what makes a place different from all the other places they could visit in the world.\u003c/p>\n\u003cp>With Detour, the layers of a place's history are brought to life. You're walking around inside a movie. I hope we can make Detour something that starts to feel like an essential companion for people when they travel.\u003c/p>\n\u003cp>\u003cstrong>Do you have a favorite San Francisco tour?\u003cbr>\n\u003c/strong>My favorite, at this point, is probably a little bit unexpected. It's our walk through the Tenderloin. What I love about \u003ca href=\"https://www.detour.com/san-francisco\">Detour San Francisco\u003c/a> is that not only do we go through the places that make this city famous, like the Haight and the Castro, but we also try to take people places that are perhaps a little bit gritty — where you wouldn't likely go on your own because you wouldn't know what do to when you got there. This walk gives people something to do in the Tenderloin. It’s narrated by people who live in the neighborhood, who call it home and love it for what it is. After the tour, there's no way you'll ever think of the Tenderloin quite the same again.\u003c/p>\n\u003cp>I love it when a Detour can do that — take you somewhere that feels unfamiliar or toward which you feel judgmental and give you an experience that opens your mind.\u003c/p>\n\u003cp>\u003cstrong>When you are approaching a new city, how do you find the people who help tell the stories?\u003c/strong>\u003cbr>\nWe first try to figure out what you need to know in order to understand a city. We usually have a local who's overseeing that process, and we're combining their insights with the stuff we know people want to see when they visit. \u003c/p>\n\u003cp>Then we ask: who is the right person to tell this story? We love it when we can find somebody who has a personal connection. That's why we have Cleve Jones taking you through the Castro and Peter Coyote taking you through the Haight. They give you a version of the story that you just couldn't get anywhere else.\u003c/p>\n\u003cp>At other times it's better to get a journalist or a producer to tell the story. We just try to find somebody you're going to want to spend an hour with, someone who feels like a good fit for the story we're trying to tell.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Detour-Haight.jpg\">\u003cimg class=\"alignleft wp-image-4486 size-full\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/12/Detour-Haight.jpg\" alt=\"Detour-Haight\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Anything else you'd like to add?\u003cbr>\n\u003c/strong>I'll just say that we look at Detour San Francisco as a documentary of the city in multiple episodes. Our hope is that in taking this collection of Detours, people will gain a perspective of and connection to the city that even longtime residents might not have.\u003c/p>\n\u003cp>Having lived here for a couple of years now, working on Detour, I know infinitely more about San Francisco and feel more of a sense of connection with and reverence for the city than I ever had in Chicago, where I lived for 15 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The other thing I haven't talked about is just how fun Detour is to do with other people. One of the key things that we built into Detour is group synchronization. Multiple phones can sync up, and you can have the experience socially. It's like seeing a movie together. It's a really, really fun thing to do. For tourist and locals. I’d say it's the most fun you can have in your own city. But I'm biased, of course!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5790/interview-detour-andrew-mason","authors":["6626"],"series":["about_19"],"categories":["about_225"],"tags":["about_259","about_258","about_243"],"featImg":"about_5791","label":"about_19"},"about_5630":{"type":"posts","id":"about_5630","meta":{"index":"posts_1591205157","site":"about","id":"5630","score":null,"sort":[1447709553000]},"guestAuthors":[],"slug":"interview-with-grace-lee-off-the-menu-asian-america","title":"Interview: Grace Lee, Director 'Off the Menu: Asian America'","publishDate":1447709553,"format":"aside","headTitle":"On Q Exclusive Interviews | About KQED","labelTerm":{"term":25,"site":"about"},"content":"\u003cfigure id=\"attachment_5634\" class=\"wp-caption alignnone\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/grace_lee.jpg\">\u003cimg class=\"size-full wp-image-5634\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/grace_lee.jpg\" alt=\"Director Grace Lee; Courtesy of Quyen Tran.\" width=\"576\" height=\"546\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/grace_lee.jpg 576w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/grace_lee-400x379.jpg 400w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Grace Lee; Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>You and your friends are out to eat at your favorite Asian restaurant. But before you dig into that fantastic dish of noodles — whether it’s Korean guksu, pad Thai, Japanese ramen or Chinese chow mein — you’ve just got to take a picture of it, to share and savor the meal forever with foodies online everywhere. Click. Flash. Post. Chew. Yum.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the new documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://caamedia.org/offthemenu/\" target=\"_blank\">Off the Menu: Asian America\u003c/a>, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">director Grace Lee uses that moment of click, not as the delicious endgame of finding a satisfying meal, but rather as the point of departure: Who made the food? Where was it grown? Is it authentically Asian? Lee and her crew traveled to four states (New York, Wisconsin, Hawaii, Texas) in search of answers to these questions.\u003c/span>\u003c/p>\n\u003cp>The film highlights the diverse and eclectic culinary responses of an Asian American diaspora adapting to or modifying Asian cuisine to each region (tofu tamales in Texas, for example). Lee talked with me about the making of the film and updating the definition of what it means to be Asian American today.\u003c/p>\n\u003cfigure id=\"attachment_5633\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"wp-image-5633 size-full\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/chiu.jpg\" alt=\"chiu\" width=\"720\" height=\"405\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/chiu.jpg 720w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/chiu-400x225.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Gary Chiu of Banyan Foods works in the family business, the oldest tofu factory in Houston, founded in 1978. Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nIn foodie culture, everyone takes and posts pictures of the food they eat. But you decided to raise the camera up, away from the plate and onto the people who produce our food.\u003c/b>\u003c/p>\n\u003cp>One of the easiest ways for people to access Asian, or Asian American culture is through food, or restaurants or being foodies. That's something I've observed as an Asian American. Growing up in the Midwest, we did not talk about the food we ate because it was too weird and foreign. But now everyone has embraced kimchi. The dish is very much a part of who we were, and an integral part of our family and our life, but it's now mainstream, like the condiment Sriracha.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Part of what this film explores is that even though you can take pictures of your food, how much do you really know about the person who made that food, the person who grew that food and the story behind it?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Informally, I have been asking people over the years, \"Why do you take pictures of your food?\" Because I'll do it occasionally, but I'm not obsessive about it. I think that they don't want to forget what they’ve eaten and they’re trying to articulate the meaning of food to them and how it relates to who they are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>The picture itself then represents what is special.\u003c/b>\u003c/p>\n\u003cp>Right. I was once in a college class talking about another film, a documentary about social justice. The students liked the film, and then they asked, \"What are you working on now?\" I said, \"I'm making a film about food.\" All these kids, they just lit up and they couldn't stop talking. They all talked about why they take pictures of their food. They were engaged, and it was exciting to them because it's not high pressure to eat food. It's fun to go to a restaurant or go to a food truck. It may be the entré into talking about other things.\u003c/p>\n\u003cp>\u003cb>Why didn't you talk about food growing up in Missouri? Were there few Asian Americans there?\u003c/b>\u003c/p>\n\u003cp>There actually were quite a few immigrant families like my own. There are pictures of backyard picnics and the Korean church, which was where I had access to Korean food and community. But it was definitely separate from what I experienced in my white-bread world outside my home and the immigrant community I grew up in.\u003c/p>\n\u003cfigure id=\"attachment_5637\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/hawaii.jpg\">\u003cimg class=\"size-full wp-image-5637\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/hawaii.jpg\" alt=\"Hi’ilei, champion of native Hawaiian food traditions, with her father Gabby; Courtesy of Quyen Tran.\" width=\"720\" height=\"343\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/hawaii.jpg 720w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/hawaii-400x191.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hi’ilei, champion of native Hawaiian food traditions, with her father Gabby; Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nWhat more can you tell us about \u003c/b>\u003cb>the concept of “mana” that\u003c/b>\u003cb> Hi’ilei Kawelo\u003c/b>\u003cb> introduces us to in Hawaii?\u003c/b>\u003c/p>\n\u003cp>I don't want to butcher the definition. I'm just going off of what people in the film said. Hi’ilei talks about it being the essence of everything. The essence of everything sounds so broad, but history and culture are all wrapped up in mana. It pervades everyday life and culture.\u003c/p>\n\u003cp>Coming home from school, relatives or my parents would often ask, \"Have you eaten?\" not \"How are you doing?\" It’s more important to know that you've been nourished and fed. This has nothing to do with mana, but it speaks to the idea that food is more than just a meal. It's connected to your well being. Also, when I would visit my grandparents in Korea, my grandfather practiced ancestor worship, which means respecting the dead on certain days and laying out a whole table full of specific foods as an offering to your ancestors. It's using food to respect tradition.\u003c/p>\n\u003cp>\u003cb>The film contends with the idea of what’s authentically Asian American, such as Fung Tu’s French-influenced Chinese cuisine.\u003c/b>\u003c/p>\n\u003cp>When you talk about what is Asian America or what is an Asian American sensibility, how can you actually define that? I don't even know how to define Asian American, to be honest, but the film is a way to explore what that evolving concept means. Gary Chiu, with the tofu factory in Houston, says, \"My experience is only a thin slice of what Asian American cuisine or Chinese food is,\" and I feel the same way. Jonathan Wu really embodies it when he says, \"Okay, it's not technically Chinese, but Chinese people might have a way to connect with it.\" .\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a recent screening, somebody asked \"Don't you think it's dangerous if you start mixing things, diluting what Asian is?\" My response was \"That's already happening now.\" It’s like saying there's only one definition of what Asian can be. Everything here is so Americanized.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_5638\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/kitchen_WI.jpg\">\u003cimg class=\"size-full wp-image-5638\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/kitchen_WI.jpg\" alt=\"In the kitchen at Sikh Temple of Oak Creek, Wisconsin for lungar, a centuries-old practice of a communal meal; Courtesy of Quyen Tran. \" width=\"720\" height=\"343\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/kitchen_WI.jpg 720w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/kitchen_WI-400x191.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In the kitchen at Sikh Temple of Oak Creek, Wisconsin for lungar, a centuries-old practice of a communal meal; Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nThe story set in Wisconsin centers on a South Asian community. Do they self-identify as Asian American?\u003c/b>\u003c/p>\n\u003cp>The concept of Asian American was coined in the 1960s with ethnic studies and Asian American activists. Back then it was more heavily East Asian, Japan, Korea, China. But India is definitely part of Asia, and Indians have always been Asian American to me, I think mostly because I've known South Asians who identify as Asian American. Organizations like the Center for Asian American Media (CAAM) presents stories from East Asia, South Asia, Southeast Asia and the Middle East. It's a huge range.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We didn't have time to go into it, but all of the Hawaiian people in the story, they're all mixed. The spear-fisher father, his mother is Chinese. Cheryse is Filipino, Hawaiian, everything. Maybe we're all moving toward Hawaii. The mixing is where new things emerge. Even my son, who is half Korean, identifies as Asian American. If he's not Asian American then who is? \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Find out when \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23294\" target=\"_blank\">\u003cem>Off the Menu: Asian America\u003c/em>\u003c/a> is airing on KQED.\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1447715594,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1232},"headData":{"title":"Interview: Grace Lee, Director 'Off the Menu: Asian America' | KQED","description":"You and your friends are out to eat at your favorite Asian restaurant. But before you dig into that fantastic dish of noodles — whether it’s Korean guksu, pad Thai, Japanese ramen or Chinese chow mein — you’ve just got to take a picture of it, to share and savor the meal forever with foodies","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Grace Lee, Director 'Off the Menu: Asian America'","datePublished":"2015-11-16T21:32:33.000Z","dateModified":"2015-11-16T23:13:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"5630 http://ww2.kqed.org/about/?p=5630","disqusUrl":"https://ww2.kqed.org/about/2015/11/16/interview-with-grace-lee-off-the-menu-asian-america/","disqusTitle":"Interview: Grace Lee, Director 'Off the Menu: Asian America'","path":"/about/5630/interview-with-grace-lee-off-the-menu-asian-america","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_5634\" class=\"wp-caption alignnone\" style=\"max-width: 576px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/grace_lee.jpg\">\u003cimg class=\"size-full wp-image-5634\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/grace_lee.jpg\" alt=\"Director Grace Lee; Courtesy of Quyen Tran.\" width=\"576\" height=\"546\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/grace_lee.jpg 576w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/grace_lee-400x379.jpg 400w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Grace Lee; Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>You and your friends are out to eat at your favorite Asian restaurant. But before you dig into that fantastic dish of noodles — whether it’s Korean guksu, pad Thai, Japanese ramen or Chinese chow mein — you’ve just got to take a picture of it, to share and savor the meal forever with foodies online everywhere. Click. Flash. Post. Chew. Yum.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the new documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://caamedia.org/offthemenu/\" target=\"_blank\">Off the Menu: Asian America\u003c/a>, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">director Grace Lee uses that moment of click, not as the delicious endgame of finding a satisfying meal, but rather as the point of departure: Who made the food? Where was it grown? Is it authentically Asian? Lee and her crew traveled to four states (New York, Wisconsin, Hawaii, Texas) in search of answers to these questions.\u003c/span>\u003c/p>\n\u003cp>The film highlights the diverse and eclectic culinary responses of an Asian American diaspora adapting to or modifying Asian cuisine to each region (tofu tamales in Texas, for example). Lee talked with me about the making of the film and updating the definition of what it means to be Asian American today.\u003c/p>\n\u003cfigure id=\"attachment_5633\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"wp-image-5633 size-full\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/chiu.jpg\" alt=\"chiu\" width=\"720\" height=\"405\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/chiu.jpg 720w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/chiu-400x225.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Gary Chiu of Banyan Foods works in the family business, the oldest tofu factory in Houston, founded in 1978. Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nIn foodie culture, everyone takes and posts pictures of the food they eat. But you decided to raise the camera up, away from the plate and onto the people who produce our food.\u003c/b>\u003c/p>\n\u003cp>One of the easiest ways for people to access Asian, or Asian American culture is through food, or restaurants or being foodies. That's something I've observed as an Asian American. Growing up in the Midwest, we did not talk about the food we ate because it was too weird and foreign. But now everyone has embraced kimchi. The dish is very much a part of who we were, and an integral part of our family and our life, but it's now mainstream, like the condiment Sriracha.\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>\u003cspan style=\"font-weight: 400\">Part of what this film explores is that even though you can take pictures of your food, how much do you really know about the person who made that food, the person who grew that food and the story behind it?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Informally, I have been asking people over the years, \"Why do you take pictures of your food?\" Because I'll do it occasionally, but I'm not obsessive about it. I think that they don't want to forget what they’ve eaten and they’re trying to articulate the meaning of food to them and how it relates to who they are.\u003c/span>\u003c/p>\n\u003cp>\u003cb>The picture itself then represents what is special.\u003c/b>\u003c/p>\n\u003cp>Right. I was once in a college class talking about another film, a documentary about social justice. The students liked the film, and then they asked, \"What are you working on now?\" I said, \"I'm making a film about food.\" All these kids, they just lit up and they couldn't stop talking. They all talked about why they take pictures of their food. They were engaged, and it was exciting to them because it's not high pressure to eat food. It's fun to go to a restaurant or go to a food truck. It may be the entré into talking about other things.\u003c/p>\n\u003cp>\u003cb>Why didn't you talk about food growing up in Missouri? Were there few Asian Americans there?\u003c/b>\u003c/p>\n\u003cp>There actually were quite a few immigrant families like my own. There are pictures of backyard picnics and the Korean church, which was where I had access to Korean food and community. But it was definitely separate from what I experienced in my white-bread world outside my home and the immigrant community I grew up in.\u003c/p>\n\u003cfigure id=\"attachment_5637\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/hawaii.jpg\">\u003cimg class=\"size-full wp-image-5637\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/hawaii.jpg\" alt=\"Hi’ilei, champion of native Hawaiian food traditions, with her father Gabby; Courtesy of Quyen Tran.\" width=\"720\" height=\"343\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/hawaii.jpg 720w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/hawaii-400x191.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hi’ilei, champion of native Hawaiian food traditions, with her father Gabby; Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nWhat more can you tell us about \u003c/b>\u003cb>the concept of “mana” that\u003c/b>\u003cb> Hi’ilei Kawelo\u003c/b>\u003cb> introduces us to in Hawaii?\u003c/b>\u003c/p>\n\u003cp>I don't want to butcher the definition. I'm just going off of what people in the film said. Hi’ilei talks about it being the essence of everything. The essence of everything sounds so broad, but history and culture are all wrapped up in mana. It pervades everyday life and culture.\u003c/p>\n\u003cp>Coming home from school, relatives or my parents would often ask, \"Have you eaten?\" not \"How are you doing?\" It’s more important to know that you've been nourished and fed. This has nothing to do with mana, but it speaks to the idea that food is more than just a meal. It's connected to your well being. Also, when I would visit my grandparents in Korea, my grandfather practiced ancestor worship, which means respecting the dead on certain days and laying out a whole table full of specific foods as an offering to your ancestors. It's using food to respect tradition.\u003c/p>\n\u003cp>\u003cb>The film contends with the idea of what’s authentically Asian American, such as Fung Tu’s French-influenced Chinese cuisine.\u003c/b>\u003c/p>\n\u003cp>When you talk about what is Asian America or what is an Asian American sensibility, how can you actually define that? I don't even know how to define Asian American, to be honest, but the film is a way to explore what that evolving concept means. Gary Chiu, with the tofu factory in Houston, says, \"My experience is only a thin slice of what Asian American cuisine or Chinese food is,\" and I feel the same way. Jonathan Wu really embodies it when he says, \"Okay, it's not technically Chinese, but Chinese people might have a way to connect with it.\" .\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a recent screening, somebody asked \"Don't you think it's dangerous if you start mixing things, diluting what Asian is?\" My response was \"That's already happening now.\" It’s like saying there's only one definition of what Asian can be. Everything here is so Americanized.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_5638\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/kitchen_WI.jpg\">\u003cimg class=\"size-full wp-image-5638\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/11/kitchen_WI.jpg\" alt=\"In the kitchen at Sikh Temple of Oak Creek, Wisconsin for lungar, a centuries-old practice of a communal meal; Courtesy of Quyen Tran. \" width=\"720\" height=\"343\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/11/kitchen_WI.jpg 720w, https://ww2.kqed.org/app/uploads/sites/19/2015/11/kitchen_WI-400x191.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In the kitchen at Sikh Temple of Oak Creek, Wisconsin for lungar, a centuries-old practice of a communal meal; Courtesy of Quyen Tran.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cbr>\nThe story set in Wisconsin centers on a South Asian community. Do they self-identify as Asian American?\u003c/b>\u003c/p>\n\u003cp>The concept of Asian American was coined in the 1960s with ethnic studies and Asian American activists. Back then it was more heavily East Asian, Japan, Korea, China. But India is definitely part of Asia, and Indians have always been Asian American to me, I think mostly because I've known South Asians who identify as Asian American. Organizations like the Center for Asian American Media (CAAM) presents stories from East Asia, South Asia, Southeast Asia and the Middle East. It's a huge range.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We didn't have time to go into it, but all of the Hawaiian people in the story, they're all mixed. The spear-fisher father, his mother is Chinese. Cheryse is Filipino, Hawaiian, everything. Maybe we're all moving toward Hawaii. The mixing is where new things emerge. Even my son, who is half Korean, identifies as Asian American. If he's not Asian American then who is? \u003c/span>\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>\u003cstrong>Find out when \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=23294\" target=\"_blank\">\u003cem>Off the Menu: Asian America\u003c/em>\u003c/a> is airing on KQED.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5630/interview-with-grace-lee-off-the-menu-asian-america","authors":["42"],"programs":["about_25"],"categories":["about_225"],"featImg":"about_5634","label":"about_25"},"about_5463":{"type":"posts","id":"about_5463","meta":{"index":"posts_1591205157","site":"about","id":"5463","score":null,"sort":[1445281207000]},"guestAuthors":[],"slug":"interview-beth-willon","title":"Interview: Beth Willon","publishDate":1445281207,"format":"aside","headTitle":"On KQED Insider | On Q Exclusive Interviews | About KQED","labelTerm":{"term":25,"site":"about"},"content":"\u003cfigure id=\"attachment_5468\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/10/BethWillon.jpeg\">\u003cimg class=\"size-thumbnail wp-image-5468\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/10/BethWillon-400x400.jpeg\" alt=\"Beth Willon\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-75x75.jpeg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beth Willon \u003ccite>(Christina Z White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After reporting all day and into the wee hours of the morning on Indian Prime Minister Narendra Modi’s visit to Silicon Valley, then contributing to a \u003ca href=\"http://www.kqed.org/a/forum/R201509280900\" target=\"_blank\">\u003cem>Forum\u003c/em> broadcast\u003c/a> on the subject, Beth Willon, senior editor/reporter for KQED’s Silicon Valley Desk, needed some sleep. Instead, she was kind enough to take time to talk about her career and the stories she’s working on for KQED.\u003c/p>\n\u003cp>\u003cstrong>When did you start at KQED, and where were you working before\u003cbr>\n\u003c/strong>I just celebrated my one-year anniversary. Before KQED, I was at KGO Radio. I was a general assignment reporter with a lot of emphasis on politics and the courts. I also reported from Pakistan with the East-West Journalism Center for almost a month.\u003c/p>\n\u003cp>\u003cstrong>What drew you to the job at KQED?\u003cbr>\n\u003c/strong>I worked for Oregon Public Broadcasting years ago and am a big fan of public radio, and I have strong personal ties to Silicon Valley. I lived in San Jose for almost 19 years — working and raising my three children. Then I lived in Sacramento and commuted to San Francisco every day for about two years. I listened to KQED quite a bit then and always appreciated the depth and the scope of the stories. Working for KQED in Silicon Valley brings me full circle.\u003c/p>\n\u003cp>\u003cstrong>Is KQED’s Silicon Valley Desk focusing on particular kinds of stories?\u003cbr>\n\u003c/strong>We place a lot of emphasis on covering Silicon Valley’s diverse community. Santa Clara County is arguably the most diverse part of the Bay Area. San Jose has the largest Vietnamese population of any city outside Vietnam. There’s a huge and thriving Latino population and an enormous Indian population. We’ve made a big push to shine a light on communities that have not previously received much attention, with \u003ca href=\"http://ww2.kqed.org/news/series/california-immigrants-at-work\" target=\"_blank\">stories on immigration\u003c/a>, jobs and services.\u003c/p>\n\u003cp>Most recently we covered \u003ca href=\"http://ww2.kqed.org/news/2015/09/28/modi-calls-silicon-valleys-indian-americans-a-brain-gain\" target=\"_blank\">the monumental visit by Indian Prime Minister Narendra Modi\u003c/a>. The last time an Indian prime minister came to California was 33 years ago. There are 300,000 Indian Americans in Northern California, and about 150,000 of them live in the Bay Area. So, as you might imagine, there was a lot of pride associated with his visit — \u003ca href=\"https://www.youtube.com/watch?v=z-x_0gmu-Rk\" target=\"_blank\">as well as protests\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Is there anything from your reporting of his visit that sticks with you?\u003cbr>\n\u003c/strong>Modi’s vision of transforming India into \"digital India\" was significant, but what stuck with me was how much he was trying to appeal to Indian Americans who have been in Silicon Valley a long time. He wants them to invest in India. He called them not a brain drain, but a brain gain, a deposit that he can cash in on. He made it clear that opportunities are growing in India and that he wants them to open offices in India or come back to live. India is one of the fastest-growing economies; that was at the heart of his message. He also wants startups to bring their manufacturing to India, so he spent a lot of time with Indian American startup founders. It’s not just the big companies. He’s looking at the whole ecosystem.\u003c/p>\n\u003cp>\u003cstrong>Can you share some stories you have in the pipeline?\u003cbr>\n\u003c/strong>We’ll be looking at Silicon Valley gearing up to enter Cuba. We are also working on stories about surveillance; Homeland Security and the CIA are moving into Silicon Valley, opening offices here to get a piece of the startup action. And, of course, we’ll look at the economics of the Super Bowl. It’s really interesting: Silicon Valley essentially hijacked a lot of the Super Bowl activities from San Francisco, which nobody was expecting. The teams are staying in Silicon Valley and are going to practice at Stanford and San Jose State. And the big, nationally televised media night will be at SAP Center [in San Jose] the week before the Super Bowl. Nobody in their wildest dreams expected San Jose and Santa Clara County to get this much attention!\u003c/p>\n\u003cp>\u003cstrong>We\u003c/strong>’\u003cstrong>ll end things on a light note. Do you have a guilty pleasure?\u003cbr>\n\u003c/strong>My guilty pleasure is going to Santa Cruz on Sunday mornings and boogie boarding. It makes me feel like a kid, and it's very relaxing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>I\u003c/strong>’\u003cstrong>m wondering where the guilt comes from. Do you feel like you should be doing something else instead? Or that it\u003c/strong>’\u003cstrong>s not something you should do as an adult?\u003cbr>\n\u003c/strong>Well, you don’t see that many adults boogie boarding. I’m out there with the 10-year-olds!\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1445278065,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":785},"headData":{"title":"Interview: Beth Willon | KQED","description":"After reporting all day and into the wee hours of the morning on Indian Prime Minister Narendra Modi’s visit to Silicon Valley, then contributing to a Forum broadcast on the subject, Beth Willon, senior editor/reporter for KQED’s Silicon Valley Desk, needed some sleep. Instead, she was kind enough to take time to talk about her","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Beth Willon","datePublished":"2015-10-19T19:00:07.000Z","dateModified":"2015-10-19T18:07:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"5463 http://ww2.kqed.org/about/?p=5463","disqusUrl":"https://ww2.kqed.org/about/2015/10/19/interview-beth-willon/","disqusTitle":"Interview: Beth Willon","path":"/about/5463/interview-beth-willon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_5468\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/10/BethWillon.jpeg\">\u003cimg class=\"size-thumbnail wp-image-5468\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/10/BethWillon-400x400.jpeg\" alt=\"Beth Willon\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon.jpeg 600w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/19/2015/10/BethWillon-75x75.jpeg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beth Willon \u003ccite>(Christina Z White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After reporting all day and into the wee hours of the morning on Indian Prime Minister Narendra Modi’s visit to Silicon Valley, then contributing to a \u003ca href=\"http://www.kqed.org/a/forum/R201509280900\" target=\"_blank\">\u003cem>Forum\u003c/em> broadcast\u003c/a> on the subject, Beth Willon, senior editor/reporter for KQED’s Silicon Valley Desk, needed some sleep. Instead, she was kind enough to take time to talk about her career and the stories she’s working on for KQED.\u003c/p>\n\u003cp>\u003cstrong>When did you start at KQED, and where were you working before\u003cbr>\n\u003c/strong>I just celebrated my one-year anniversary. Before KQED, I was at KGO Radio. I was a general assignment reporter with a lot of emphasis on politics and the courts. I also reported from Pakistan with the East-West Journalism Center for almost a month.\u003c/p>\n\u003cp>\u003cstrong>What drew you to the job at KQED?\u003cbr>\n\u003c/strong>I worked for Oregon Public Broadcasting years ago and am a big fan of public radio, and I have strong personal ties to Silicon Valley. I lived in San Jose for almost 19 years — working and raising my three children. Then I lived in Sacramento and commuted to San Francisco every day for about two years. I listened to KQED quite a bit then and always appreciated the depth and the scope of the stories. Working for KQED in Silicon Valley brings me full circle.\u003c/p>\n\u003cp>\u003cstrong>Is KQED’s Silicon Valley Desk focusing on particular kinds of stories?\u003cbr>\n\u003c/strong>We place a lot of emphasis on covering Silicon Valley’s diverse community. Santa Clara County is arguably the most diverse part of the Bay Area. San Jose has the largest Vietnamese population of any city outside Vietnam. There’s a huge and thriving Latino population and an enormous Indian population. We’ve made a big push to shine a light on communities that have not previously received much attention, with \u003ca href=\"http://ww2.kqed.org/news/series/california-immigrants-at-work\" target=\"_blank\">stories on immigration\u003c/a>, jobs and services.\u003c/p>\n\u003cp>Most recently we covered \u003ca href=\"http://ww2.kqed.org/news/2015/09/28/modi-calls-silicon-valleys-indian-americans-a-brain-gain\" target=\"_blank\">the monumental visit by Indian Prime Minister Narendra Modi\u003c/a>. The last time an Indian prime minister came to California was 33 years ago. There are 300,000 Indian Americans in Northern California, and about 150,000 of them live in the Bay Area. So, as you might imagine, there was a lot of pride associated with his visit — \u003ca href=\"https://www.youtube.com/watch?v=z-x_0gmu-Rk\" target=\"_blank\">as well as protests\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Is there anything from your reporting of his visit that sticks with you?\u003cbr>\n\u003c/strong>Modi’s vision of transforming India into \"digital India\" was significant, but what stuck with me was how much he was trying to appeal to Indian Americans who have been in Silicon Valley a long time. He wants them to invest in India. He called them not a brain drain, but a brain gain, a deposit that he can cash in on. He made it clear that opportunities are growing in India and that he wants them to open offices in India or come back to live. India is one of the fastest-growing economies; that was at the heart of his message. He also wants startups to bring their manufacturing to India, so he spent a lot of time with Indian American startup founders. It’s not just the big companies. He’s looking at the whole ecosystem.\u003c/p>\n\u003cp>\u003cstrong>Can you share some stories you have in the pipeline?\u003cbr>\n\u003c/strong>We’ll be looking at Silicon Valley gearing up to enter Cuba. We are also working on stories about surveillance; Homeland Security and the CIA are moving into Silicon Valley, opening offices here to get a piece of the startup action. And, of course, we’ll look at the economics of the Super Bowl. It’s really interesting: Silicon Valley essentially hijacked a lot of the Super Bowl activities from San Francisco, which nobody was expecting. The teams are staying in Silicon Valley and are going to practice at Stanford and San Jose State. And the big, nationally televised media night will be at SAP Center [in San Jose] the week before the Super Bowl. Nobody in their wildest dreams expected San Jose and Santa Clara County to get this much attention!\u003c/p>\n\u003cp>\u003cstrong>We\u003c/strong>’\u003cstrong>ll end things on a light note. Do you have a guilty pleasure?\u003cbr>\n\u003c/strong>My guilty pleasure is going to Santa Cruz on Sunday mornings and boogie boarding. It makes me feel like a kid, and it's very relaxing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>I\u003c/strong>’\u003cstrong>m wondering where the guilt comes from. Do you feel like you should be doing something else instead? Or that it\u003c/strong>’\u003cstrong>s not something you should do as an adult?\u003cbr>\n\u003c/strong>Well, you don’t see that many adults boogie boarding. I’m out there with the 10-year-olds!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5463/interview-beth-willon","authors":["6626"],"programs":["about_25"],"series":["about_19"],"categories":["about_225"],"tags":["about_252","about_243","about_253"],"featImg":"about_5468","label":"about_25"},"about_5068":{"type":"posts","id":"about_5068","meta":{"index":"posts_1591205157","site":"about","id":"5068","score":null,"sort":[1441207936000]},"guestAuthors":[],"slug":"interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece","title":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece","publishDate":1441207936,"format":"standard","headTitle":"Behind the Scenes | About KQED","labelTerm":{"term":13,"site":"about"},"content":"\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1441302362,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1673},"headData":{"title":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece | KQED","description":"Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece","datePublished":"2015-09-02T15:32:16.000Z","dateModified":"2015-09-03T17:46:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"5068 http://ww2.kqed.org/about/?p=5068","disqusUrl":"https://ww2.kqed.org/about/2015/09/02/interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece/","disqusTitle":"Interview: Henry Lloyd-Hughes in Indian Summers on Masterpiece","path":"/about/5068/interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ralph Whelan is a complicated man. English by birth, he’s a well-placed civil servant in India in the final years of the British Raj. Whelan’s psychological ties to India are at war with his professional loyalties to England. He might just represent the British colonial conscience abroad — entrenched and divided, in denial and guilt-ridden.\u003c/p>\n\u003cp>You may not recognize the name of the actor who plays him: Henry Lloyd-Hughes. After tuning in to the first episode of \u003cem>\u003ca href=\"http://video.kqed.org/video/2365523738/\" target=\"_blank\">Indian Summers\u003c/a>,\u003c/em> putting that name to his face will no longer present a problem. With this role, Lloyd-Hughes makes a commanding impression as a leading man. He embodies the might and vulnerability of an empire in decline.\u003c/p>\n\u003cp>I spoke with Lloyd-Hughes about \u003ci>Indian Summers, \u003c/i>his career in the U.K. and the independent film shorts he’s written.\u003c/p>\n\u003cp>\u003cb>It's 1932 when \u003c/b>\u003cb>\u003ci>Indian Summers\u003c/i>\u003c/b>\u003cb> begins, about 15 years before India gains independence from the British Empire. Can you place your character and his position there?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> My character is in the Indian civil service, which is part of the governing body that England has put in place as part of the empire. Paul Rutman [the screenwriter] is very deliberate in the timing of when the show is set. He could have set it at any time in the previous 50 or 60 years and it would have been about the good old days, but the point is that for those who are connected to power, as my character is, because he's the private secretary to the Viceroy of India, who is the kind of King-like figure, the king-emperors of India, he is treated with that level of status.\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 am the person who is the controller of all information that comes from and to the Viceroy, from the rulers in England, and back and forth. On one level, it's a role that is invisible with a ringside seat to power, but at the same time, it's incredibly influential. That person has an amazing reach of influence right across to the highest level.\u003c/p>\n\u003cp>\u003cb>There's a line that Ralph says to his sister when she arrives in India, “I just want everything to be perfect.” Do you feel that statement defines his character?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I wouldn't say it's a map, but I would go so far as to say he may be brainwashed himself for, or, rather that's the role that he plays in his job, so far that it has bled into his personal life, does that make sense? I often think about Ralph — one of the fascinating things to play him, as an actor, is that he \u003ci>is\u003c/i> an actor. He is acting a lot of his life. Superficially, he represents the establishment, but there's something much more complicated and conflicted about him. A white man born and trained for the job, family have been in India — his heritage is there in terms of being part of the civil service and yet, he is not like that, he is twisted inside because his love of India is emotional. It's molecular.\u003c/p>\n\u003cp>\u003cb>How do you think living abroad in their colonial outposts affected the English psyche?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>To my understanding, the notion of Englishness that the people took with them when they went out to these places (Kenya and India as two examples), everything that was inside the people in terms of their ambitions, their hopes, their ideas about the kind of person they wanted to be, was amplified the minute they left England. You get all these people who were maybe lower-class when they left England and they arrive somewhere else, and you know what? “I'm middle-class.”' If you were middle class or upper middle class to begin with, by the time you got off the boat, you were upper-class. You were like, “Oh, did I forget to mention? I'm basically aristocracy” because no one was there to check your back story, and that went the same way as far as flirtations, and trying to have your cake and eat it because there was this sense of mischief, of reckless abandon, of reinvention.\u003c/p>\n\u003cp>There are very few people who are trying to maintain a status quo that is tied to the past. Almost everyone is having to embrace a new type of future like Julie Walter's character, Cynthia. She is a dinosaur in her refusal to acknowledge that the times are changing. Ralph may appear to \u003ci>not\u003c/i> acknowledge that the times are changing but in his soul, of course, he knows they are.\u003c/p>\n\u003cfigure id=\"attachment_5070\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\">\u003cimg class=\"size-full wp-image-5070\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/walters_hughes.jpg\" alt=\"Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/walters_hughes-400x281.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Julie Walters as Cynthia Coffin and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But Julie Walter's character seems to have carved out her own personal fiefdom, one that she might not ever have had in England.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> Exactly right. She's an embodiment of the kind of person that made a richer and, like you say, a little private universe of her own devising that wouldn't have been possible to any degree in England, which is why of course she wants to cling on to India until her dying breath, because why wouldn't you if you could reinvent yourself, make yourself grand and powerful when you weren't powerful. It incentivizes you almost above and beyond your actual political leanings, your actual racial prejudices because what you want is to cling on to what you've got.\u003c/p>\n\u003cp>\u003cb>When you’re acting in a period piece like this, how do you go about erasing the modern world?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> There are certain things, in terms of dialogue, in terms of dialect, it's hard to explain but once you get into the rhythm of a period scene, the words and the rhythm of what you're doing will transport you somewhere. There are drawbacks to filming on location on the other side of the world. I don't see my wife, I don't see my friends, I don't see anyone I know, but having said that, the one value added, you are transported. You are transported to a place that feels other, and it feels like you are in a different place and maybe even in a different time.\u003c/p>\n\u003cp>\u003cspan style=\"font-family: Arial, sans-serif\">\u003cspan style=\"font-family: Arial, sans-serif\">\u003cbr>\n\u003c/span>\u003c/span>\u003cb>For American audiences who aren’t familiar with your work, I wanted to talk about your filmography, starting with a short film you wrote \u003c/b>\u003ca href=\"http://www.funnyordie.com/videos/fabe616aef/acting-intensity-rebellion?_cc=__d___&_ccid=elm89o.nsj3qn\" target=\"_blank\">\u003cb>“Acting = Intensity + Rebellion.”\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>I'm not someone who sits at the typewriter with a blank screen and goes, “oh, what could I possibly cook up?” Occasionally, for example, I have a very specific idea that comes to me fully formed. I wrote \u003ci>Acting\u003c/i> in maybe 24 hours. A week later I was shooting it in L.A. As an idea, it was inspired by moody teenage heartthrob actors that maybe weren't necessarily that good. The idea that one could come up with a formula for acting was really funny to me. What's interesting is that you can be incredibly pretentious and still be a really good actor. In a way, that's what's frustrating about it.\u003c/p>\n\u003cp>\u003cb>Looking at your biography, you come from a family of actors. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> I guess on paper, but it wasn't a foregone conclusion. It just meant that when that conversation came, there was a bit of, “We thought we'd exorcised this ghost and suddenly, we find that the house is haunted again.” My family was unsurprised, shall we say, that that particular gene had come back and come back with a vengeance.\u003c/p>\n\u003cfigure id=\"attachment_5071\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\">\u003cimg class=\"size-full wp-image-5071\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/hughes_dinner.jpg\" alt=\"Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan. ((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International) \" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner.jpg 640w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/hughes_dinner-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Jemima West as Alice Whelan and Henry Lloyd-Hughes as Ralph Whelan.\u003cbr>((C) New Pictures and Channel 4 for MASTERPIECE in association with All3Media International)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You also appeared in a popular British series \u003c/b>\u003cb>\u003ci>The Inbetweeners. \u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes: \u003c/b>It's a huge show in England, and has such a cult following that the minute they finish a show there's a huge appetite for more. I think there will be more. I was the anti-hero, the baddie in that show as well, unfortunately. As much as I love doing comedies — and that was so satisfying doing a funny show with so many great comic actors — but I always play the straight guy.\u003c/p>\n\u003cp>Weirdly, I didn't get to flex my comic muscles as much as you would expect given that it's a very successful comedy, but I love the show, it's very English. I don't know whether viewers from America, if they want to watch it whether or not it might resonate in the same way because it's about a particular type of English suburbia, but I would say a companion piece, an easy comparison, would be something like \u003ca href=\"http://www.vanityfair.com/unchanged/2013/01/freaks-and-geeks-oral-history\" target=\"_blank\">\u003ci>Freaks and Geeks.\u003c/i>\u003c/a> It's not about the cool kids.\u003c/p>\n\u003cp>\u003cb>In 2016, you’re going to be in a Hollywood film, \u003c/b>\u003cb>\u003ci>Now You See Me: The Second Act. \u003c/i>\u003c/b>\u003cb>What’s the difference between working in America vs. the U.K.?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Henry Lloyd-Hughes:\u003c/b> The thing is: L.A. has its own language and rhythm. I almost feel like it's a separate state. I think if you were to transplant someone from Iowa and take them into a restaurant in L.A. and overheard the conversations, I think it would feel pretty weird for them as well. There is a rhythm and a pitch to which people can make a deal, come after the deal, make a new deal. That is, in and of itself, some kind of magisterial dance that is both beautiful and incredibly ugly all at once.\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>\u003ci>Indian Summers on Masterpiece\u003c/i> premieres on KQED 9 Sunday, September 27.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5068/interview-henry-lloyd-hughes-in-indian-summers-on-masterpiece","authors":["42"],"programs":["about_13"],"categories":["about_59","about_225"],"featImg":"about_5069","label":"about_13"},"about_5128":{"type":"posts","id":"about_5128","meta":{"index":"posts_1591205157","site":"about","id":"5128","score":null,"sort":[1440090046000]},"guestAuthors":[],"slug":"interview-ki-sung","title":"Interview: Ki Sung","publishDate":1440090046,"format":"aside","headTitle":"On KQED Insider | On Q Exclusive Interviews | About KQED","labelTerm":{"term":25,"site":"about"},"content":"\u003cfigure id=\"attachment_5138\" class=\"wp-caption alignleft\" style=\"max-width: 375px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/Ki-head-shot1.jpg\">\u003cimg class=\"wp-image-5138\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/Ki-head-shot1.jpg\" alt=\"Ki Sung\" width=\"375\" height=\"361\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/Ki-head-shot1.jpg 499w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/Ki-head-shot1-400x385.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/Ki-head-shot1-32x32.jpg 32w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ki Sung \u003ccite>(Wendy Goofriend/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>September 2015 marks Ki Sung’s one-year anniversary as senior editor of KQED’s blog \u003cem>\u003ca href=\"http://ww2.kqed.org/mindshift/\">MindShift\u003c/a>\u003c/em>, which explores the future of learning in all its dimensions. Since she took the job, \u003cem>MindShift\u003c/em> has gained 60 percent more users, page views and sessions. It has added 100,000 Facebook fans and more than doubled its Twitter followers. Ki sat down over the summer to talk about the joys and challenges of her job as well as the future of \u003cem>MindShift\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Where did you work before KQED?\u003cbr>\n\u003c/strong>I was at NPR West [in Culver City, CA] working as a digital news trainer.\u003c/p>\n\u003cp>\u003cstrong>What does that mean?\u003cbr>\n\u003c/strong>That means I helped NPR member stations, including KQED, learn the skills needed to create content for a growing digital audience, including writing, photography, aggregation, content strategy and organizational issues.\u003c/p>\n\u003cp>\u003cstrong>What drew you to KQED?\u003cbr>\n\u003c/strong>\u003cem>Mindshift\u003c/em> drew me to KQED. The content, the stories and the insights are outstanding and always thought provoking. Before Tina Barseghian, the founding editor, left, I had been pitching her ideas and strategizing about content. She encouraged me to apply for the job and it ended up being a fairly smooth fit.\u003c/p>\n\u003cp>\u003cstrong>Who else is on the \u003cem>MindShift\u003c/em> team?\u003cbr>\n\u003c/strong>\u003ca href=\"http://ww2.kqed.org/mindshift/author/katrinaschwartz/\" target=\"_blank\">Katrina Schwartz\u003c/a> is our staff writer. She has a deep understanding of what educators face. We also have a stable of contributing freelancers, many of whom have developed niches with our audience. \u003ca href=\"http://ww2.kqed.org/mindshift/author/lindaflan/\" target=\"_blank\">Linda Flanagan\u003c/a> writes extensively about podcasts, an emerging classroom tool thanks to \u003ca href=\"http://ww2.kqed.org/mindshift/2015/03/11/what-teens-are-learning-from-serial-and-other-podcasts/\" target=\"_blank\">\u003cem>Radiolab\u003c/em> \u003c/a>and \u003cem>\u003ca href=\"https://www.bostonglobe.com/metro/regionals/west/2015/05/29/summer-homework-did-you-listen-your-podcast-yet/euF5eLTW8tbftPJ6vccKkJ/story.html#\" target=\"_blank\">Serial\u003c/a>. \u003c/em>\u003ca href=\"http://ww2.kqed.org/mindshift/author/luba/\" target=\"_blank\">Luba Vangelova\u003c/a> introduces readers to the world beyond conventional education in her coverage of \u003ca href=\"http://ww2.kqed.org/mindshift/2014/09/02/how-do-unschoolers-turn-out/\" target=\"_blank\">unschooling \u003c/a>and democratic schools. Paul Darvasi is a leader in game-based learning and \u003ca href=\"http://ww2.kqed.org/mindshift/author/hollykorbey/\" target=\"_blank\">Holly Korbey\u003c/a> understands the struggles of underprivileged kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>MindShift\u003c/em>\u003c/strong>\u003cstrong> is the most popular site on KQED.org. That must be rewarding, but it also must be challenging to keep the level of readership high.\u003cbr>\n\u003c/strong>There’s a huge spectrum of educational content available, but we’re laser-focused on learning. That allows us to stay no to a lot of things, but it also makes it more of a challenge to find that one story that is really exciting. That said, we put a lot of thought, care and intentionality into each post and it shows in our audience growth.\u003c/p>\n\u003cp>\u003cstrong>What do you like about your job?\u003c/strong>\u003cbr>\nI mostly interact with readers online, but some of the major professional development conferences happen in the summer, so recently I’ve been traveling across the country, meeting readers face-to-face. Hearing firsthand how people are actually using our coverage is really inspiring.\u003c/p>\n\u003cp>I’ve heard about teachers who hotly debated a \u003cem>MindShift\u003c/em> article in their latest staff meeting. I just heard from a superintendent who emails \u003cem>MindShift\u003c/em> stories to her educators because she wants them to be aware of the issues that we’re covering. To know that teachers are finding \u003cem>MindShift\u003c/em> useful is really satisfying. We're doing our jobs.\u003c/p>\n\u003cp>\u003cstrong>What are some things you're excited about?\u003cbr>\n\u003c/strong>We really want to create events to bring educators together. I think they do a great job finding each other on social media, but we’re looking to take it to the next level, whether that’s in-person networking events or a new social media community. You can also look forward to a podcast, naturally.\u003c/p>\n\u003cp>\u003cstrong>My last question is distinctly \u003cem>not\u003c/em> work related. Do you have a guilty pleasure?\u003cbr>\n\u003c/strong>This is the one question I prepared the most for. Hot core power yoga with weights.\u003c/p>\n\u003cp>\u003cstrong>Hot core power yoga with weights. All right. Why is that a guilty pleasure?\u003cbr>\n\u003c/strong>Because it seems antithetical to yoga. Right? There's really loud music. It almost feels like you’re in a club. It feels wrong, but it also feels amazing.\u003c/p>\n\u003cp>\u003cstrong>Have you been doing it for a long time?\u003cbr>\n\u003c/strong>About a month. I did Vinyasa for a long time. If the instructor I used to practice with knew, I would feel shame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>So it's guilt in the context of the yoga community!\u003cbr>\n\u003c/strong>It's something that doesn't feel right, but it feels good.\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1440090046,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":696},"headData":{"title":"Interview: Ki Sung | KQED","description":"September 2015 marks Ki Sung’s one-year anniversary as senior editor of KQED’s blog MindShift, which explores the future of learning in all its dimensions. Since she took the job, MindShift has gained 60 percent more users, page views and sessions. It has added 100,000 Facebook fans and more than doubled its Twitter followers. Ki sat","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Ki Sung","datePublished":"2015-08-20T17:00:46.000Z","dateModified":"2015-08-20T17:00:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"5128 http://ww2.kqed.org/about/?p=5128","disqusUrl":"https://ww2.kqed.org/about/2015/08/20/interview-ki-sung/","disqusTitle":"Interview: Ki Sung","path":"/about/5128/interview-ki-sung","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_5138\" class=\"wp-caption alignleft\" style=\"max-width: 375px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/Ki-head-shot1.jpg\">\u003cimg class=\"wp-image-5138\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/08/Ki-head-shot1.jpg\" alt=\"Ki Sung\" width=\"375\" height=\"361\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/08/Ki-head-shot1.jpg 499w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/Ki-head-shot1-400x385.jpg 400w, https://ww2.kqed.org/app/uploads/sites/19/2015/08/Ki-head-shot1-32x32.jpg 32w\" sizes=\"(max-width: 375px) 100vw, 375px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ki Sung \u003ccite>(Wendy Goofriend/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>September 2015 marks Ki Sung’s one-year anniversary as senior editor of KQED’s blog \u003cem>\u003ca href=\"http://ww2.kqed.org/mindshift/\">MindShift\u003c/a>\u003c/em>, which explores the future of learning in all its dimensions. Since she took the job, \u003cem>MindShift\u003c/em> has gained 60 percent more users, page views and sessions. It has added 100,000 Facebook fans and more than doubled its Twitter followers. Ki sat down over the summer to talk about the joys and challenges of her job as well as the future of \u003cem>MindShift\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Where did you work before KQED?\u003cbr>\n\u003c/strong>I was at NPR West [in Culver City, CA] working as a digital news trainer.\u003c/p>\n\u003cp>\u003cstrong>What does that mean?\u003cbr>\n\u003c/strong>That means I helped NPR member stations, including KQED, learn the skills needed to create content for a growing digital audience, including writing, photography, aggregation, content strategy and organizational issues.\u003c/p>\n\u003cp>\u003cstrong>What drew you to KQED?\u003cbr>\n\u003c/strong>\u003cem>Mindshift\u003c/em> drew me to KQED. The content, the stories and the insights are outstanding and always thought provoking. Before Tina Barseghian, the founding editor, left, I had been pitching her ideas and strategizing about content. She encouraged me to apply for the job and it ended up being a fairly smooth fit.\u003c/p>\n\u003cp>\u003cstrong>Who else is on the \u003cem>MindShift\u003c/em> team?\u003cbr>\n\u003c/strong>\u003ca href=\"http://ww2.kqed.org/mindshift/author/katrinaschwartz/\" target=\"_blank\">Katrina Schwartz\u003c/a> is our staff writer. She has a deep understanding of what educators face. We also have a stable of contributing freelancers, many of whom have developed niches with our audience. \u003ca href=\"http://ww2.kqed.org/mindshift/author/lindaflan/\" target=\"_blank\">Linda Flanagan\u003c/a> writes extensively about podcasts, an emerging classroom tool thanks to \u003ca href=\"http://ww2.kqed.org/mindshift/2015/03/11/what-teens-are-learning-from-serial-and-other-podcasts/\" target=\"_blank\">\u003cem>Radiolab\u003c/em> \u003c/a>and \u003cem>\u003ca href=\"https://www.bostonglobe.com/metro/regionals/west/2015/05/29/summer-homework-did-you-listen-your-podcast-yet/euF5eLTW8tbftPJ6vccKkJ/story.html#\" target=\"_blank\">Serial\u003c/a>. \u003c/em>\u003ca href=\"http://ww2.kqed.org/mindshift/author/luba/\" target=\"_blank\">Luba Vangelova\u003c/a> introduces readers to the world beyond conventional education in her coverage of \u003ca href=\"http://ww2.kqed.org/mindshift/2014/09/02/how-do-unschoolers-turn-out/\" target=\"_blank\">unschooling \u003c/a>and democratic schools. Paul Darvasi is a leader in game-based learning and \u003ca href=\"http://ww2.kqed.org/mindshift/author/hollykorbey/\" target=\"_blank\">Holly Korbey\u003c/a> understands the struggles of underprivileged kids.\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>\u003cem>MindShift\u003c/em>\u003c/strong>\u003cstrong> is the most popular site on KQED.org. That must be rewarding, but it also must be challenging to keep the level of readership high.\u003cbr>\n\u003c/strong>There’s a huge spectrum of educational content available, but we’re laser-focused on learning. That allows us to stay no to a lot of things, but it also makes it more of a challenge to find that one story that is really exciting. That said, we put a lot of thought, care and intentionality into each post and it shows in our audience growth.\u003c/p>\n\u003cp>\u003cstrong>What do you like about your job?\u003c/strong>\u003cbr>\nI mostly interact with readers online, but some of the major professional development conferences happen in the summer, so recently I’ve been traveling across the country, meeting readers face-to-face. Hearing firsthand how people are actually using our coverage is really inspiring.\u003c/p>\n\u003cp>I’ve heard about teachers who hotly debated a \u003cem>MindShift\u003c/em> article in their latest staff meeting. I just heard from a superintendent who emails \u003cem>MindShift\u003c/em> stories to her educators because she wants them to be aware of the issues that we’re covering. To know that teachers are finding \u003cem>MindShift\u003c/em> useful is really satisfying. We're doing our jobs.\u003c/p>\n\u003cp>\u003cstrong>What are some things you're excited about?\u003cbr>\n\u003c/strong>We really want to create events to bring educators together. I think they do a great job finding each other on social media, but we’re looking to take it to the next level, whether that’s in-person networking events or a new social media community. You can also look forward to a podcast, naturally.\u003c/p>\n\u003cp>\u003cstrong>My last question is distinctly \u003cem>not\u003c/em> work related. Do you have a guilty pleasure?\u003cbr>\n\u003c/strong>This is the one question I prepared the most for. Hot core power yoga with weights.\u003c/p>\n\u003cp>\u003cstrong>Hot core power yoga with weights. All right. Why is that a guilty pleasure?\u003cbr>\n\u003c/strong>Because it seems antithetical to yoga. Right? There's really loud music. It almost feels like you’re in a club. It feels wrong, but it also feels amazing.\u003c/p>\n\u003cp>\u003cstrong>Have you been doing it for a long time?\u003cbr>\n\u003c/strong>About a month. I did Vinyasa for a long time. If the instructor I used to practice with knew, I would feel shame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>So it's guilt in the context of the yoga community!\u003cbr>\n\u003c/strong>It's something that doesn't feel right, but it feels good.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/5128/interview-ki-sung","authors":["6626"],"programs":["about_25"],"series":["about_19"],"categories":["about_225"],"featImg":"about_5138","label":"about_25"},"about_4949":{"type":"posts","id":"about_4949","meta":{"index":"posts_1591205157","site":"about","id":"4949","score":null,"sort":[1437693034000]},"guestAuthors":[],"slug":"anne-reid-on-last-tango-in-halifax","title":"Interview: Last Tango in Halifax's Anne Reid on American Fans, Derek Jacobi and Cabaret","publishDate":1437693034,"format":"standard","headTitle":"About KQED","labelTerm":{"site":"about"},"content":"\u003cp>The Season 3 finale of\u003ci> \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=21708\" target=\"_blank\">Last Tango in Halifax\u003c/a>\u003c/i> is only two weeks away on KQED 9 and fans of this perfect little gem of a show have questions: Will Gillian really marry again? Will Caroline recover from Kate’s untimely death? And what exactly is Gary, Alan’s newfound son, on about?\u003c/p>\n\u003cp>I didn’t ask the actress and cabaret singer Anne Reid for spoilers, but we did talk about her portrayal of Celia, how she landed her first lead film role in \u003ci>The Mother \u003c/i>(2003), and her childhood trip to Iran while her father was stationed there as a journalist (“We stayed in a hotel, which was pink marble. It was like something out of the Arabian Nights.”).\u003c/p>\n\u003cp>But if you can’t wait to see her and the rest of the Halifax gang when Season 4 returns next year, Reid is bringing her cabaret act to \u003ca href=\"http://54below.com/\">New York City\u003c/a> on the 7th of October. And you might be surprised to hear who her inspiration is: “Barbara Cook completely changed my life. She was my idol, and then we became great friends.\" Prepare to be thoroughly charmed.\u003c/p>\n\u003cp>\u003cb>What does the series capture about Yorkshire that Americans might not know?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> I think it captures quite a lot. I have American friends and I love going over to New York, and when they come over here I say to them, London is not England. London is very cosmopolitan and it's a real melting pot. To know England, you have to go outside of London. I'm delighted that the Americans have taken to \u003ci>Last Tango.\u003c/i> You can see the countryside, and I think northern Yorkshire people have a reputation for being very blunt and very down-to-earth, and I think you see that in all of us actually. We're all strong characters, aren't we really? I am a northerner. Sarah Lancashire and I are both northerners.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>There’s also an unspoken undercurrent of class tension, of town vs. country.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Yes, absolutely, because Celia is a better class than what Alan is supposed to be. They were born together in the same town, but it's what happens to you after that that really defines you, isn't it? You lead different lives. Whether you have money or whether you don't, and I think although we were in the same class at school, we have had very different lives. We've got a nice house, Caroline and Celia, and Alan's lived up on a farm... I think Sally Wainwright [\u003cem>L\u003c/em>\u003ci>ast Tango in Halifax\u003c/i>’s creator, writer and executive producer] is the most wonderful writer.\u003c/p>\n\u003cp>\u003cb>Your character is based on Sally Wainwright’s mother.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Right, and I've never met her mother. The character is quite close to me. I mean, I hope I'm not as horrible as she is. Celia is so homophobic and a difficult woman. I hope I'm a bit nicer than that.\u003c/p>\n\u003cp>\u003cb>From your \u003c/b>\u003ca href=\"http://www.bbc.co.uk/programmes/b0495llz\">\u003cb>Desert Island Discs interview\u003c/b>\u003c/a>\u003cb> and your song choices, you come across as someone with a great capacity for joy, which is very different from Celia.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Oh, I'm loving this. I love the idea that you think I'm a joyful person. I am very, very much. The cup is half full with me. It's more than full, yeah. I'm a complete optimist. I think everything's going to turn out wonderfully in the end. Yes. I do have a bit of a tragic face sometimes when I don't really feel very tragic. I think I probably make Celia look a lot more serious. I don't know. It's awfully hard to judge yourself, really. Faces – you find when you get older that the expressions, every expression, seems to be more vivid. It seems to be stronger. The muscles in your face drop and so if you look serious at eighty you look a lot more serious, even though you're thinking the same thought as you do when you're forty. That's my theory about it. I think we look a lot more serious than we actually feel. It's just simply to do with the facial muscles actually.\u003c/p>\n\u003cp>\u003cb>Why do you think \u003c/b>\u003cb>\u003ci>Last Tango\u003c/i>\u003c/b>\u003cb> has been so well received?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> The script is very, very good, and I do think that it is very, very well cast. It's just gelled. Sarah, who plays my daughter, I've known her since she was twelve. I know her mother, and Sarah's father actually was a writer. He wrote a series, several series on television and worked with my husband, \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Eckersley_(TV_producer)\">Peter Eckersley\u003c/a>, who was a television producer so we had that connection. Derek Jacobi I didn't know. I was introduced to Derek and we got on absolutely from the word go. We share a hotel when we're filming and we're like sort of an old married couple. We meet for dinner and we have a couple of glasses of wine and and I think the fact that everybody gets on so well, it really does help. I have to say, I generally get on with actors, but this is a wonderful cast. I think we all respect each other and it just seems to work.\u003c/p>\n\u003cp>It's gorgeous there because I didn't know whether it would go in America or whether people would actually like it because you seem to like things like \u003ci>Downton Abbey\u003c/i> and thatched cottages and village greens and ye olde England. I wasn't sure how this would go, so I'm thrilled. I think we're all thrilled that the Americans like it.\u003c/p>\n\u003cfigure id=\"attachment_4953\" class=\"wp-caption alignright\" style=\"max-width: 680px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/S2_tango.jpg\">\u003cimg class=\"size-full wp-image-4953\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/S2_tango.jpg\" alt=\"Caroline (SARAH LANCASHIRE), Celia (ANNE REID), Alan (DEREK JACOBI), Gillian (NICOLA WALKER)\" width=\"680\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/07/S2_tango.jpg 680w, https://ww2.kqed.org/app/uploads/sites/19/2015/07/S2_tango-400x244.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroline (SARAH LANCASHIRE), Celia (ANNE REID), Alan (DEREK JACOBI), Gillian (NICOLA WALKER)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.bbc.co.uk/programmes/b04k7b73\">\u003cb>Sally Wainwright\u003c/b>\u003c/a>\u003cb> has mentioned British comedian \u003c/b>\u003ca href=\"http://www.theguardian.com/stage/2015/apr/29/ellie-taylor-on-victoria-wood-comedy-heroes\">\u003cb>Victoria Wood\u003c/b>\u003c/a>\u003cb> as an early influence, and you’ve worked with her many times, but her work hasn’t aired widely in the U.S.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> No. It's such a British view. I think she might eventually. I said to her awhile ago, I said, “You've got to write a film for Meryl Streep and Anthony Hopkins and not stick with the British thing,” because she is a very, very, very good writer. Her characters have such depth, but it's sad that you don't know her over there, but Sally is kind of similar because they both come from the north, you see.\u003c/p>\n\u003cp>Gradually, Vic built up this team of people around her, of which I was very happy to be one, but the audience kind of knew the team, and I always say that if the audience knows you, if they know you're going to be funny, the minute you come on, the audience is, people are ready to laugh, and you're ahead. I think that's happened with \u003ca href=\"http://www.bbc.co.uk/comedy/dinnerladies/\">dinnerladies\u003c/a>. It is terribly funny. It's on the television all the time here on different channels, and I think people knew us. You're not working from the ground up. They're already with you.\u003c/p>\n\u003cp>\u003cb>Could you talk about the casting process for the film you made with Daniel Craig, \u003c/b>\u003ca href=\"http://www.sonyclassics.com/themother/\">\u003cb>\u003ci>The Mother\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid: \u003c/b>I've worked most of my life on television and in the theater and I did a play, a wonderful play, called \u003ca href=\"http://www.theguardian.com/stage/2002/jan/09/theatre.artsfeatures2\">The York Realist\u003c/a>, written by a wonderful director here and writer called \u003ca href=\"http://www.theguardian.com/books/2008/apr/05/theatre.stage\">Peter Gill\u003c/a>, who you won't know, but he was at the Royal Court in the famous Royal Court days in the '60s and I did this play at the Court and then in the West End. On the opening night at the Court, I didn't know this, but apparently, because Peter was returning to the Court, they sent out invitations for the first night. Everybody in the business said yes because it was the first play he'd written for a long time. Everybody in the world was in the theater that night, including \u003ca href=\"http://www.pastemagazine.com/articles/2014/03/catching-up-with-roger-michell-on-le-week-end.html\">Roger Michell\u003c/a> and the casting director of \u003ci>The Mother.\u003c/i> They sent for me and interviewed me.\u003c/p>\n\u003cp>I went along and I said to my agent, well, this is a waste of time, the lead in a movie. I mean, who's going to give me the lead in a movie? They're not going to get the money. I live in the real world because I'm not a name. They're not going to cast me, but I wanted to meet Roger Michell and \u003ca href=\"http://hanifkureishi.co.uk\">Hanif Kureishi\u003c/a> and I'd also wanted to meet \u003ca href=\"http://www.nytimes.com/2004/04/28/movies/mary-selway-is-dead-at-68-cast-actors-for-top-directors.html\">Mary Selway\u003c/a>, who sadly now died, but she was the biggest casting director in England, so I went along. Roger said I was very arrogant because I just never thought I had a prayer, you know, so you're not really worried.\u003c/p>\n\u003cfigure id=\"attachment_4955\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/the_mother.jpg\">\u003cimg class=\"size-full wp-image-4955\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/the_mother.jpg\" alt=\"Anne Reid in The Mother, 2003 (Courtesy Sony Films Classics)\" width=\"550\" height=\"355\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/07/the_mother.jpg 550w, https://ww2.kqed.org/app/uploads/sites/19/2015/07/the_mother-400x258.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anne Reid in The Mother, 2003 (Courtesy Sony Films Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>I said to him, if you gave me this part, I'd be very excited, but I'd be a bit apprehensive because I've certainly never taken my clothes off in public before, and he said, “No, neither have I.” I thought, what's that got to do with it? You don't have to direct in the nude. He denies this, but it's absolutely true, and then I said, and I've certainly never had sex in public before, and he said, “No, neither have I.” I thought, what are you talking about? Then I went home, forgot about it, and thought well, that was interesting. About three weeks later, I got offered a part in the movie \u003ci>Calendar Girls\u003c/i> and I thought oh, yippee, at last I'm going to do a film.\u003c/p>\n\u003cp>I said to my agent, I think out of politeness, you should contact the people that saw me for \u003ci>The Mother\u003c/i> and tell them that I'm not available. So she rang up and said I just thought you should know that Anne's going to do \u003ci>Calendar Girls\u003c/i> and it was wonderful. It was the best week of my life because all hell broke loose and everybody was ringing me up and saying, you can't take that job. We want you for this, and they couldn't get the money. I was right. They couldn't get the money for \u003ci>The Mother \u003c/i>because of me, because of my name, and in the end, I said, look, if I don't accept \u003ci>Calendar Girls,\u003c/i> I'm going to lose it and I've always wanted to do a movie. This is the first one I've ever been offered, and two have come along in the same week and I'm going to end up with nothing. Roger rang me and he said, don't worry. I know the director of \u003ci>Calendar Girls\u003c/i> and, this was on Thursday, he said, by Monday, you'll be doing one or the other. Then the next day, he rang and said, We've got the money for \u003ci>The Mother\u003c/i> and I said, alright, well I'll do that. That's how it happened.\u003c/p>\n\u003cp>\u003cb>Do you have a favorite memory of being on stage in the theatre?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Oh, gosh, darling, that's so hard. Blimey. Most of the time you're just thinking, “I don't want to make a mistake.” I think, really, it was when I did a musical comedy called \u003ci>Out of this World\u003c/i> by Cole Porter and we used to stand together and sing at the end, “From This Moment On.” I think it might have been that, and it was wonderful. I remember standing there thinking, I love this. I love this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1447706139,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1974},"headData":{"title":"Interview: Last Tango in Halifax's Anne Reid on American Fans, Derek Jacobi and Cabaret | KQED","description":"The Season 3 finale of Last Tango in Halifax is only two weeks away on KQED 9 and fans of this perfect little gem of a show have questions: Will Gillian really marry again? Will Caroline recover from Kate’s untimely death? And what exactly is Gary, Alan’s newfound son, on about? I didn’t ask the","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Interview: Last Tango in Halifax's Anne Reid on American Fans, Derek Jacobi and Cabaret","datePublished":"2015-07-23T23:10:34.000Z","dateModified":"2015-11-16T20:35:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"4949 http://ww2.kqed.org/about/?p=4949","disqusUrl":"https://ww2.kqed.org/about/2015/07/23/anne-reid-on-last-tango-in-halifax/","disqusTitle":"Interview: Last Tango in Halifax's Anne Reid on American Fans, Derek Jacobi and Cabaret","path":"/about/4949/anne-reid-on-last-tango-in-halifax","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Season 3 finale of\u003ci> \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=21708\" target=\"_blank\">Last Tango in Halifax\u003c/a>\u003c/i> is only two weeks away on KQED 9 and fans of this perfect little gem of a show have questions: Will Gillian really marry again? Will Caroline recover from Kate’s untimely death? And what exactly is Gary, Alan’s newfound son, on about?\u003c/p>\n\u003cp>I didn’t ask the actress and cabaret singer Anne Reid for spoilers, but we did talk about her portrayal of Celia, how she landed her first lead film role in \u003ci>The Mother \u003c/i>(2003), and her childhood trip to Iran while her father was stationed there as a journalist (“We stayed in a hotel, which was pink marble. It was like something out of the Arabian Nights.”).\u003c/p>\n\u003cp>But if you can’t wait to see her and the rest of the Halifax gang when Season 4 returns next year, Reid is bringing her cabaret act to \u003ca href=\"http://54below.com/\">New York City\u003c/a> on the 7th of October. And you might be surprised to hear who her inspiration is: “Barbara Cook completely changed my life. She was my idol, and then we became great friends.\" Prepare to be thoroughly charmed.\u003c/p>\n\u003cp>\u003cb>What does the series capture about Yorkshire that Americans might not know?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> I think it captures quite a lot. I have American friends and I love going over to New York, and when they come over here I say to them, London is not England. London is very cosmopolitan and it's a real melting pot. To know England, you have to go outside of London. I'm delighted that the Americans have taken to \u003ci>Last Tango.\u003c/i> You can see the countryside, and I think northern Yorkshire people have a reputation for being very blunt and very down-to-earth, and I think you see that in all of us actually. We're all strong characters, aren't we really? I am a northerner. Sarah Lancashire and I are both northerners.\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>\u003cb>There’s also an unspoken undercurrent of class tension, of town vs. country.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Yes, absolutely, because Celia is a better class than what Alan is supposed to be. They were born together in the same town, but it's what happens to you after that that really defines you, isn't it? You lead different lives. Whether you have money or whether you don't, and I think although we were in the same class at school, we have had very different lives. We've got a nice house, Caroline and Celia, and Alan's lived up on a farm... I think Sally Wainwright [\u003cem>L\u003c/em>\u003ci>ast Tango in Halifax\u003c/i>’s creator, writer and executive producer] is the most wonderful writer.\u003c/p>\n\u003cp>\u003cb>Your character is based on Sally Wainwright’s mother.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Right, and I've never met her mother. The character is quite close to me. I mean, I hope I'm not as horrible as she is. Celia is so homophobic and a difficult woman. I hope I'm a bit nicer than that.\u003c/p>\n\u003cp>\u003cb>From your \u003c/b>\u003ca href=\"http://www.bbc.co.uk/programmes/b0495llz\">\u003cb>Desert Island Discs interview\u003c/b>\u003c/a>\u003cb> and your song choices, you come across as someone with a great capacity for joy, which is very different from Celia.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Oh, I'm loving this. I love the idea that you think I'm a joyful person. I am very, very much. The cup is half full with me. It's more than full, yeah. I'm a complete optimist. I think everything's going to turn out wonderfully in the end. Yes. I do have a bit of a tragic face sometimes when I don't really feel very tragic. I think I probably make Celia look a lot more serious. I don't know. It's awfully hard to judge yourself, really. Faces – you find when you get older that the expressions, every expression, seems to be more vivid. It seems to be stronger. The muscles in your face drop and so if you look serious at eighty you look a lot more serious, even though you're thinking the same thought as you do when you're forty. That's my theory about it. I think we look a lot more serious than we actually feel. It's just simply to do with the facial muscles actually.\u003c/p>\n\u003cp>\u003cb>Why do you think \u003c/b>\u003cb>\u003ci>Last Tango\u003c/i>\u003c/b>\u003cb> has been so well received?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> The script is very, very good, and I do think that it is very, very well cast. It's just gelled. Sarah, who plays my daughter, I've known her since she was twelve. I know her mother, and Sarah's father actually was a writer. He wrote a series, several series on television and worked with my husband, \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Eckersley_(TV_producer)\">Peter Eckersley\u003c/a>, who was a television producer so we had that connection. Derek Jacobi I didn't know. I was introduced to Derek and we got on absolutely from the word go. We share a hotel when we're filming and we're like sort of an old married couple. We meet for dinner and we have a couple of glasses of wine and and I think the fact that everybody gets on so well, it really does help. I have to say, I generally get on with actors, but this is a wonderful cast. I think we all respect each other and it just seems to work.\u003c/p>\n\u003cp>It's gorgeous there because I didn't know whether it would go in America or whether people would actually like it because you seem to like things like \u003ci>Downton Abbey\u003c/i> and thatched cottages and village greens and ye olde England. I wasn't sure how this would go, so I'm thrilled. I think we're all thrilled that the Americans like it.\u003c/p>\n\u003cfigure id=\"attachment_4953\" class=\"wp-caption alignright\" style=\"max-width: 680px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/S2_tango.jpg\">\u003cimg class=\"size-full wp-image-4953\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/S2_tango.jpg\" alt=\"Caroline (SARAH LANCASHIRE), Celia (ANNE REID), Alan (DEREK JACOBI), Gillian (NICOLA WALKER)\" width=\"680\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/07/S2_tango.jpg 680w, https://ww2.kqed.org/app/uploads/sites/19/2015/07/S2_tango-400x244.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroline (SARAH LANCASHIRE), Celia (ANNE REID), Alan (DEREK JACOBI), Gillian (NICOLA WALKER)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.bbc.co.uk/programmes/b04k7b73\">\u003cb>Sally Wainwright\u003c/b>\u003c/a>\u003cb> has mentioned British comedian \u003c/b>\u003ca href=\"http://www.theguardian.com/stage/2015/apr/29/ellie-taylor-on-victoria-wood-comedy-heroes\">\u003cb>Victoria Wood\u003c/b>\u003c/a>\u003cb> as an early influence, and you’ve worked with her many times, but her work hasn’t aired widely in the U.S.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> No. It's such a British view. I think she might eventually. I said to her awhile ago, I said, “You've got to write a film for Meryl Streep and Anthony Hopkins and not stick with the British thing,” because she is a very, very, very good writer. Her characters have such depth, but it's sad that you don't know her over there, but Sally is kind of similar because they both come from the north, you see.\u003c/p>\n\u003cp>Gradually, Vic built up this team of people around her, of which I was very happy to be one, but the audience kind of knew the team, and I always say that if the audience knows you, if they know you're going to be funny, the minute you come on, the audience is, people are ready to laugh, and you're ahead. I think that's happened with \u003ca href=\"http://www.bbc.co.uk/comedy/dinnerladies/\">dinnerladies\u003c/a>. It is terribly funny. It's on the television all the time here on different channels, and I think people knew us. You're not working from the ground up. They're already with you.\u003c/p>\n\u003cp>\u003cb>Could you talk about the casting process for the film you made with Daniel Craig, \u003c/b>\u003ca href=\"http://www.sonyclassics.com/themother/\">\u003cb>\u003ci>The Mother\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid: \u003c/b>I've worked most of my life on television and in the theater and I did a play, a wonderful play, called \u003ca href=\"http://www.theguardian.com/stage/2002/jan/09/theatre.artsfeatures2\">The York Realist\u003c/a>, written by a wonderful director here and writer called \u003ca href=\"http://www.theguardian.com/books/2008/apr/05/theatre.stage\">Peter Gill\u003c/a>, who you won't know, but he was at the Royal Court in the famous Royal Court days in the '60s and I did this play at the Court and then in the West End. On the opening night at the Court, I didn't know this, but apparently, because Peter was returning to the Court, they sent out invitations for the first night. Everybody in the business said yes because it was the first play he'd written for a long time. Everybody in the world was in the theater that night, including \u003ca href=\"http://www.pastemagazine.com/articles/2014/03/catching-up-with-roger-michell-on-le-week-end.html\">Roger Michell\u003c/a> and the casting director of \u003ci>The Mother.\u003c/i> They sent for me and interviewed me.\u003c/p>\n\u003cp>I went along and I said to my agent, well, this is a waste of time, the lead in a movie. I mean, who's going to give me the lead in a movie? They're not going to get the money. I live in the real world because I'm not a name. They're not going to cast me, but I wanted to meet Roger Michell and \u003ca href=\"http://hanifkureishi.co.uk\">Hanif Kureishi\u003c/a> and I'd also wanted to meet \u003ca href=\"http://www.nytimes.com/2004/04/28/movies/mary-selway-is-dead-at-68-cast-actors-for-top-directors.html\">Mary Selway\u003c/a>, who sadly now died, but she was the biggest casting director in England, so I went along. Roger said I was very arrogant because I just never thought I had a prayer, you know, so you're not really worried.\u003c/p>\n\u003cfigure id=\"attachment_4955\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/the_mother.jpg\">\u003cimg class=\"size-full wp-image-4955\" src=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/07/the_mother.jpg\" alt=\"Anne Reid in The Mother, 2003 (Courtesy Sony Films Classics)\" width=\"550\" height=\"355\" srcset=\"https://ww2.kqed.org/app/uploads/sites/19/2015/07/the_mother.jpg 550w, https://ww2.kqed.org/app/uploads/sites/19/2015/07/the_mother-400x258.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anne Reid in The Mother, 2003 (Courtesy Sony Films Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>I said to him, if you gave me this part, I'd be very excited, but I'd be a bit apprehensive because I've certainly never taken my clothes off in public before, and he said, “No, neither have I.” I thought, what's that got to do with it? You don't have to direct in the nude. He denies this, but it's absolutely true, and then I said, and I've certainly never had sex in public before, and he said, “No, neither have I.” I thought, what are you talking about? Then I went home, forgot about it, and thought well, that was interesting. About three weeks later, I got offered a part in the movie \u003ci>Calendar Girls\u003c/i> and I thought oh, yippee, at last I'm going to do a film.\u003c/p>\n\u003cp>I said to my agent, I think out of politeness, you should contact the people that saw me for \u003ci>The Mother\u003c/i> and tell them that I'm not available. So she rang up and said I just thought you should know that Anne's going to do \u003ci>Calendar Girls\u003c/i> and it was wonderful. It was the best week of my life because all hell broke loose and everybody was ringing me up and saying, you can't take that job. We want you for this, and they couldn't get the money. I was right. They couldn't get the money for \u003ci>The Mother \u003c/i>because of me, because of my name, and in the end, I said, look, if I don't accept \u003ci>Calendar Girls,\u003c/i> I'm going to lose it and I've always wanted to do a movie. This is the first one I've ever been offered, and two have come along in the same week and I'm going to end up with nothing. Roger rang me and he said, don't worry. I know the director of \u003ci>Calendar Girls\u003c/i> and, this was on Thursday, he said, by Monday, you'll be doing one or the other. Then the next day, he rang and said, We've got the money for \u003ci>The Mother\u003c/i> and I said, alright, well I'll do that. That's how it happened.\u003c/p>\n\u003cp>\u003cb>Do you have a favorite memory of being on stage in the theatre?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Anne Reid:\u003c/b> Oh, gosh, darling, that's so hard. Blimey. Most of the time you're just thinking, “I don't want to make a mistake.” I think, really, it was when I did a musical comedy called \u003ci>Out of this World\u003c/i> by Cole Porter and we used to stand together and sing at the end, “From This Moment On.” I think it might have been that, and it was wonderful. I remember standing there thinking, I love this. I love this.\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>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/about/4949/anne-reid-on-last-tango-in-halifax","authors":["42"],"categories":["about_225"],"featImg":"about_4952","label":"about"}},"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. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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