'Soul' Creators on Passion, Purpose and Realizing You're 'Enough'
Reel Talk: Geeking Out on Time Travel with Theo Hollingsworth
Reel Talk: Filmmaking in the Bay Area… Rightnowish
Now Playing! Sixties Space, Saudi Silencers and ‘Soul’
'Real Artists' Imagines a World Where AI Replaces Human Filmmakers
GLAS Fest: We've Come a Long Way Since 'Steamboat Willie'
In 'Coco,' Pixar Finds Joyous Life — In Death
'Cars 3' Comes Roaring Back With A Swapped-Out (Story) Engine
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On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xOsLIiBStEs\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Pete Docter and Kemp Powers say their Oscar-nominated movie is meant to challenge conventional notions of success and failure.","status":"publish","parent":0,"modified":1705019303,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1507},"headData":{"title":"'Soul' Creators on Passion, Purpose and Realizing You're 'Enough' | KQED","description":"Pete Docter and Kemp Powers say their Oscar-nominated movie is meant to challenge conventional notions of success and failure.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Soul' Creators on Passion, Purpose and Realizing You're 'Enough'","datePublished":"2021-03-23T18:47:20.000Z","dateModified":"2024-01-12T00:28:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Terry Gross","nprImageAgency":"Disney","nprStoryId":"980275234","nprApiLink":"http://api.npr.org/query?id=980275234&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/03/23/980275234/soul-creators-on-passion-purpose-and-realizing-youre-enough?ft=nprml&f=980275234","nprRetrievedStory":"1","nprPubDate":"Tue, 23 Mar 2021 14:11:00 -0400","nprStoryDate":"Tue, 23 Mar 2021 11:55:57 -0400","nprLastModifiedDate":"Tue, 23 Mar 2021 12:01:43 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210323_fa_01.mp3?orgId=427869011&topicId=1137&d=2155&p=13&story=980275234&ft=nprml&f=980275234","nprAudioM3u":"http://api.npr.org/m3u/1980393986-8c8fbf.m3u?orgId=427869011&topicId=1137&d=2155&p=13&story=980275234&ft=nprml&f=980275234","templateType":"standard","featuredImageType":"standard","path":"/arts/13894433/soul-creators-on-passion-purpose-and-realizing-youre-enough","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/03/20210323_fa_01.mp3?orgId=427869011&topicId=1137&d=2155&p=13&story=980275234&ft=nprml&f=980275234","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar-nominated movie \u003cem>Soul \u003c/em>tackles passion, purpose and the meaning of life—topics that aren’t usually addressed in animated films.\u003c/p>\n\u003cp>The movie centers on Joe, a middle school band teacher who feels unfulfilled because his ambition is to be a full-time jazz musician. On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\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>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xOsLIiBStEs'\n title='//www.youtube.com/embed/xOsLIiBStEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\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>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894433/soul-creators-on-passion-purpose-and-realizing-youre-enough","authors":["byline_arts_13894433"],"categories":["arts_1","arts_74"],"tags":["arts_4262","arts_3114","arts_1900","arts_956"],"affiliates":["arts_137"],"featImg":"arts_13894434","label":"arts_137"},"arts_13894197":{"type":"posts","id":"arts_13894197","meta":{"index":"posts_1591205157","site":"arts","id":"13894197","score":null,"sort":[1616148006000]},"guestAuthors":[],"slug":"rightnowish-reel-talk-theo-hollingsworth","title":"Reel Talk: Geeking Out on Time Travel with Theo Hollingsworth","publishDate":1616148006,"format":"standard","headTitle":"Reel Talk: Geeking Out on Time Travel with Theo Hollingsworth | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003cem>Over 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2903107781&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland-based filmmaker \u003ca href=\"https://www.instagram.com/teddy_ruxpin/\" target=\"_blank\" rel=\"noopener noreferrer\">Theo Hollingsworth\u003c/a> knows about nerds. Back when he attended Howard University, he was given the nickname “spoken nerd” because of his personality and passion for poetry.\u003c/p>\n\u003cp>More recently, Hollingsworth’s independently produced comedic sci-fi series, \u003ca href=\"https://www.theohollingsworth.com/sirius-lee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sirius Lee: The Problematic Time Transplant\u003c/em>\u003c/a>, dives into its own nerdom with quantum physics while addressing outdated perspectives on masculinity, gentrification and much more.\u003c/p>\n\u003cp>Hollingsworth, who grew up in Michigan, Tennessee and New York, has called the Bay Area home for nearly a decade. Currently an employee at Pixar, Hollingsworth has taken it upon himself to get ingrained in the community by doing production gigs with organizations like the \u003ca href=\"https://www.mandelagrocery.coop/\" target=\"_blank\" rel=\"noopener noreferrer\">Mandela Grocery Cooperative\u003c/a> and \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>. With his latest series, Hollingsworth brings local businesses and Bay Area actors into the production process, telling a wacky fictional story that’s rooted in true community support.\u003c/p>\n\u003cp>https://www.instagram.com/p/CMVxybbBsd1/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Theo Hollingsworth.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Your latest project, Sirius Lee: The Problematic Time Transplant, bring us into that, what’s it all about?\u003c/em>\u003c/p>\n\u003cp>Theo: It’s really about a quantum physicist / rapper / martial arts expert from the 80s… 1980 specifically, messing around with his gadgets and opens up a time portal and ends up transporting 40 years into the future. So he’s in Oakland where he’s from originally, but he’s 40 years transplanted from his time.\u003c/p>\n\u003cp>Theo: The story is how do I get back to my time? But along the way, he enlisted the help of a roommate and his long lost son, his estranged son, Junior.\u003c/p>\n\u003cp>Theo: He’s problematic as the title indicates, it’s not like he’s a bad guy, by any means. But he’s got some outdated thoughts. He thinks all drugs are bad. So reefer is bad. He’s also kind of a guy who’s like maybe got some backwards ideas around masculinity, you know, so they got to update him on that. So, it’s kind of like a story about catching him up, fitting him in to help him get back to his time.\u003c/p>\n\u003cp>\u003cem>Pen: The references, as you said, are problematic, at the time in the 1980s was one thing and then talking about in 2020 is a different thing.\u003c/em>\u003c/p>\n\u003cp>Theo: Exactly. Yeah, man. I mean, O.J. Simpson was a freaking hero. And then when he finds out about OJ Simpson… No one would have told you anything bad about Bill Cosby or O.J. Simpson in 1980…. That’s what they wanted you to be! If you wanted to make it as a Black man in America, it’s like, yo, these are your models, now go! Right? And so it’s a hard pill to swallow. But he swallows it.\u003c/p>\n\u003cp>\u003cem>Pen: I know nerdy stuff is incorporated into a lot of things that you produce and it’s also very Black. I’ve seen the rise in the popularity of Blerd’s in pop culture. What is a blerd to you and why is it seemingly more popular now?\u003c/em>\u003c/p>\n\u003cp>Theo: Basically a blerd, which I totally I ride with, is a black nerd. And the reason why I think that is, is popular is because of how voracious of an appetite Black folks have for social media. It’s just so easy now to showcase your nerdy ass sense of humor or your nerdy ass interest in comic books or sci fi or whatever. And when you put that out there, people tend to gravitate toward you. So yeah, I’m happy to be a part of it. I’m on all these Facebook groups and I’m like maybe i’m not a nerd ? There’s levels to this shit … I’m like the level two / three nerd.\u003c/p>\n\u003cp>Theo: You know, I always compare this series, Sirius Lee, The Problematic Time Transplant, it’s really like Austin Powers, meets the last OG in Brooklyn. Right… When white people are weird, like, they don’t think that Michael Myers is a nerd… It’s just whenever Black people do something that isn’t traditionally what you see them doing, it’s like, oh, he’s a nerd! It’s like nah, I’m goofy… I’m a goof! But does that necessarily make me a nerd? I don’t know.\u003c/p>\n\u003cp>\u003cem>Pen: I wonder if it’s because of stereotypes of how African Americans have been depicted in films before, and this is contrary to the stereotypes, on the far other end of the spectrum, right? This isn’t gangster so it’s definitely nerd!\u003c/em>\u003c/p>\n\u003cp>Theo: Yeah, I’m definitely not gangster.\u003c/p>\n\u003cp>\u003cem>Pen: Def a cool nerd, I can vouch for that.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"For the nerds, the 80s babies, and the dream chasers: here's Theo Hollingsworth's story. ","status":"publish","parent":0,"modified":1705019319,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":905},"headData":{"title":"Reel Talk: Geeking Out on Time Travel with Theo Hollingsworth | KQED","description":"For the nerds, the 80s babies, and the dream chasers: here's Theo Hollingsworth's story. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Reel Talk: Geeking Out on Time Travel with Theo Hollingsworth","datePublished":"2021-03-19T10:00:06.000Z","dateModified":"2024-01-12T00:28:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC2903107781.mp3?updated=1616104649","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13894197/rightnowish-reel-talk-theo-hollingsworth","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Over 4 weeks, Rightnowish is looking at filmmaking in the Bay Area. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2903107781&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland-based filmmaker \u003ca href=\"https://www.instagram.com/teddy_ruxpin/\" target=\"_blank\" rel=\"noopener noreferrer\">Theo Hollingsworth\u003c/a> knows about nerds. Back when he attended Howard University, he was given the nickname “spoken nerd” because of his personality and passion for poetry.\u003c/p>\n\u003cp>More recently, Hollingsworth’s independently produced comedic sci-fi series, \u003ca href=\"https://www.theohollingsworth.com/sirius-lee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sirius Lee: The Problematic Time Transplant\u003c/em>\u003c/a>, dives into its own nerdom with quantum physics while addressing outdated perspectives on masculinity, gentrification and much more.\u003c/p>\n\u003cp>Hollingsworth, who grew up in Michigan, Tennessee and New York, has called the Bay Area home for nearly a decade. Currently an employee at Pixar, Hollingsworth has taken it upon himself to get ingrained in the community by doing production gigs with organizations like the \u003ca href=\"https://www.mandelagrocery.coop/\" target=\"_blank\" rel=\"noopener noreferrer\">Mandela Grocery Cooperative\u003c/a> and \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>. With his latest series, Hollingsworth brings local businesses and Bay Area actors into the production process, telling a wacky fictional story that’s rooted in true community support.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CMVxybbBsd1"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Theo Hollingsworth.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Your latest project, Sirius Lee: The Problematic Time Transplant, bring us into that, what’s it all about?\u003c/em>\u003c/p>\n\u003cp>Theo: It’s really about a quantum physicist / rapper / martial arts expert from the 80s… 1980 specifically, messing around with his gadgets and opens up a time portal and ends up transporting 40 years into the future. So he’s in Oakland where he’s from originally, but he’s 40 years transplanted from his time.\u003c/p>\n\u003cp>Theo: The story is how do I get back to my time? But along the way, he enlisted the help of a roommate and his long lost son, his estranged son, Junior.\u003c/p>\n\u003cp>Theo: He’s problematic as the title indicates, it’s not like he’s a bad guy, by any means. But he’s got some outdated thoughts. He thinks all drugs are bad. So reefer is bad. He’s also kind of a guy who’s like maybe got some backwards ideas around masculinity, you know, so they got to update him on that. So, it’s kind of like a story about catching him up, fitting him in to help him get back to his time.\u003c/p>\n\u003cp>\u003cem>Pen: The references, as you said, are problematic, at the time in the 1980s was one thing and then talking about in 2020 is a different thing.\u003c/em>\u003c/p>\n\u003cp>Theo: Exactly. Yeah, man. I mean, O.J. Simpson was a freaking hero. And then when he finds out about OJ Simpson… No one would have told you anything bad about Bill Cosby or O.J. Simpson in 1980…. That’s what they wanted you to be! If you wanted to make it as a Black man in America, it’s like, yo, these are your models, now go! Right? And so it’s a hard pill to swallow. But he swallows it.\u003c/p>\n\u003cp>\u003cem>Pen: I know nerdy stuff is incorporated into a lot of things that you produce and it’s also very Black. I’ve seen the rise in the popularity of Blerd’s in pop culture. What is a blerd to you and why is it seemingly more popular now?\u003c/em>\u003c/p>\n\u003cp>Theo: Basically a blerd, which I totally I ride with, is a black nerd. And the reason why I think that is, is popular is because of how voracious of an appetite Black folks have for social media. It’s just so easy now to showcase your nerdy ass sense of humor or your nerdy ass interest in comic books or sci fi or whatever. And when you put that out there, people tend to gravitate toward you. So yeah, I’m happy to be a part of it. I’m on all these Facebook groups and I’m like maybe i’m not a nerd ? There’s levels to this shit … I’m like the level two / three nerd.\u003c/p>\n\u003cp>Theo: You know, I always compare this series, Sirius Lee, The Problematic Time Transplant, it’s really like Austin Powers, meets the last OG in Brooklyn. Right… When white people are weird, like, they don’t think that Michael Myers is a nerd… It’s just whenever Black people do something that isn’t traditionally what you see them doing, it’s like, oh, he’s a nerd! It’s like nah, I’m goofy… I’m a goof! But does that necessarily make me a nerd? I don’t know.\u003c/p>\n\u003cp>\u003cem>Pen: I wonder if it’s because of stereotypes of how African Americans have been depicted in films before, and this is contrary to the stereotypes, on the far other end of the spectrum, right? This isn’t gangster so it’s definitely nerd!\u003c/em>\u003c/p>\n\u003cp>Theo: Yeah, I’m definitely not gangster.\u003c/p>\n\u003cp>\u003cem>Pen: Def a cool nerd, I can vouch for that.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894197/rightnowish-reel-talk-theo-hollingsworth","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_1118","arts_1143","arts_1900","arts_6764"],"featImg":"arts_13894199","label":"source_arts_13894197"},"arts_13893541":{"type":"posts","id":"arts_13893541","meta":{"index":"posts_1591205157","site":"arts","id":"13893541","score":null,"sort":[1614896141000]},"guestAuthors":[],"slug":"reel-talk-filmmaking-in-the-bay-area-rightnowish","title":"Reel Talk: Filmmaking in the Bay Area… Rightnowish","publishDate":1614896141,"format":"image","headTitle":"Reel Talk: Filmmaking in the Bay Area… Rightnowish | KQED","labelTerm":{},"content":"\u003cp>Filmmaking is arguably the highest form of storytelling. To incorporate sounds, sights and poetry all into one final product is a feat to behold. All the while, another operation is unfolding behind the scenes: dealing with unpredictable weather, technical glitches, and human errors—and still producing a quality story. It’s inspiring work.\u003c/p>\n\u003cp>Over the next four weeks, we’re going to take a dive into the stories of a handful of filmmakers currently making art in our region. These filmmakers discuss the big questions behind their documentaries, the truths behind their fictions and how the Bay Area has influenced their work. We’re calling this filmmaker series \u003cem>Reel Talk\u003c/em>.\u003c/p>\n\u003cp>A couple of them are from here, and a couple of them have made this their chosen home. And all of them are filmmakers I think you should know.\u003c/p>\n\u003ch3>Maya Cueva\u003c/h3>\n\u003cp>\u003cem>Episode available now. Listen below. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893564\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maya Cueva \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Berkeley’s Maya Cueva makes documentary films that cover the heavy topics of immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cblockquote>\u003cp>“I don’t think of myself as the voice of the voiceless…I think what’s important is approaching it in a way where we’re asking, ‘What are stories you feel like aren’t being told or how do you feel like you’ve been misrepresented or ignored?’” says Cueva.\u003c/p>\u003c/blockquote>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003ch3>Alba Roland Mejia and Jon Warfield Harrison\u003c/h3>\n\u003cp>\u003cem>Episode drops March 12, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Untitled-design-3.png\" alt=\"Alba Roland Mejia and Jon Harrison\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-768x480.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alba Roland Mejia and Jon Warfield Harrison\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates Alba Roland Mejia and Jon Warfield Harrison are in the early stages of their careers as filmmakers. They’ve released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cblockquote>\u003cp>“It was just beautiful to see,” says Jon Warfield Harrison, describing the day on the set when community members lent a hand to help production. “It was a collaboration between like 25 different humans. And then all these background people we didn’t even really know, just coming together to make a movie in Oakland.”\u003c/p>\u003c/blockquote>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003ch3>Theo Hollingsworth\u003c/h3>\n\u003cp>\u003cem>Episode drops March 19, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893565\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png\" alt=\"Theo Hollingsworth\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Theo Hollingsworth \u003ccite>(Spencer Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2903107781&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/teddy_ruxpin/\" target=\"_blank\" rel=\"noopener noreferrer\">Theo Hollingsworth\u003c/a> knows about nerds. Back when he attended Howard University, he was given the nickname “spoken nerd” because of his personality and passion for poetry.\u003c/p>\n\u003cblockquote>\u003cp>“A blerd, which I totally ride with, is a Black nerd.” says Hollingsworth. He has a theory that the rise of stories depicting quirky African Americans is a byproduct of social media. “It’s just so easy now to showcase your nerdy-ass sense of humor or your nerdy-ass interest in comic books or sci-fi or whatever. And when you put that out there, people tend to gravitate toward you.”\u003c/p>\u003c/blockquote>\n\u003cp>He says he’s happy to be a part of the trend. At the same time, given what he’s seen online, he’s started thinking maybe he’s not \u003cem>that\u003c/em> nerdy. “I’m like the level two-three nerd, you know what I mean?” says Hollingsworth.\u003c/p>\n\u003cp>With his day job at Pixar, Hollingsworth is a full-time media maker. But this episode we’re focusing on what he does in his spare time.\u003c/p>\n\u003cp>Hollingsworth’s independently produced comedic sci-fi series, \u003ca href=\"https://www.theohollingsworth.com/sirius-lee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sirius Lee: The Problematic Time Transplant\u003c/em>\u003c/a>, dives into its own nerdom with quantum physics while addressing outdated perspectives on masculinity, gentrification and much more.\u003c/p>\n\u003cp>Hollingsworth, who grew up in Michigan, Tennessee and New York, has called the Bay Area home for nearly a decade. He has taken it upon himself to get ingrained in the community by doing production gigs with organizations like the \u003ca href=\"https://www.mandelagrocery.coop/\" target=\"_blank\" rel=\"noopener noreferrer\">Mandela Grocery Cooperative\u003c/a> and BAYCAT. With his latest series, Hollingsworth brings local businesses and Bay Area actors into the production process, telling a wacky fictional story that’s rooted in true community support.\u003c/p>\n\u003ch3>Cheryl Dunye\u003c/h3>\n\u003cp>\u003cem>Episode drops March 26, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893563\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png\" alt=\"Cheryl Dunye\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunye \u003ccite>(Ed Salsbury)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, which takes a critical look at the depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.” It’s a hybrid of first-person documentary and scripted fiction. But in talking to me, Dunye breaks it down to its most simplistic form, “the Dunyementary is Do Your Own Mentary.”\u003c/p>\n\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles.\u003c/p>\n\u003cp>She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has also produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Oakland is historically one of the most powerful Black spaces, woman spaces and queer spaces in the world,” says Dunye, and this intersecting epicenter pulled her to move here in 2010.\u003c/p>\n\u003cp>“It’s about Blackness, and liveliness, and realness,” says Dunye, which is true of Oakland, but also of Dunye.\u003c/p>\n\u003cp>The Bay Area has a rich history when it comes to filmmaking. The list of movies made here includes some heavy hitters: \u003cem>The House On Telegraph Hill, The Birds, The Mack, \u003c/em>\u003cem>Guess Who’s Coming To Dinner\u003c/em>?, \u003cem>The Joy Luck Club\u003c/em>, \u003cem>Mrs. Doubtfire, \u003c/em>\u003cem>The Pursuit of Happyness, The Princess Diaries, Godzilla, Coach Carter,\u003c/em> \u003cem>Blindspotting, Fruitvale Station\u003c/em> and\u003cem> Sorry to Bother You \u003c/em>to name a few\u003cem>.\u003c/em> I’m not even going to try to list off all of the filmmakers from here, but I will say that both those who are from The Bay and the people who choose to make films here carry the tradition of telling stories that incorporate the Bay Area’s scenic landscapes and deep culture. And there’s nothing like seeing home on the silver screen.\u003c/p>\n\u003cp>With this series, our aim is to give a little light to a few people who are taking the filmmaking baton and running with it right now… ish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A new four-part episode series celebrates the art and visions of Bay Area filmmakers. ","status":"publish","parent":0,"modified":1705019395,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1419},"headData":{"title":"Reel Talk: Filmmaking in the Bay Area… Rightnowish | KQED","description":"A new four-part episode series celebrates the art and visions of Bay Area filmmakers. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Reel Talk: Filmmaking in the Bay Area… Rightnowish","datePublished":"2021-03-04T22:15:41.000Z","dateModified":"2024-01-12T00:29:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaking is arguably the highest form of storytelling. To incorporate sounds, sights and poetry all into one final product is a feat to behold. All the while, another operation is unfolding behind the scenes: dealing with unpredictable weather, technical glitches, and human errors—and still producing a quality story. It’s inspiring work.\u003c/p>\n\u003cp>Over the next four weeks, we’re going to take a dive into the stories of a handful of filmmakers currently making art in our region. These filmmakers discuss the big questions behind their documentaries, the truths behind their fictions and how the Bay Area has influenced their work. We’re calling this filmmaker series \u003cem>Reel Talk\u003c/em>.\u003c/p>\n\u003cp>A couple of them are from here, and a couple of them have made this their chosen home. And all of them are filmmakers I think you should know.\u003c/p>\n\u003ch3>Maya Cueva\u003c/h3>\n\u003cp>\u003cem>Episode available now. Listen below. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893564\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Maya-Cueva.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maya Cueva \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5796405705&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Berkeley’s Maya Cueva makes documentary films that cover the heavy topics of immigration, reproductive justice and xenophobia.\u003c/p>\n\u003cblockquote>\u003cp>“I don’t think of myself as the voice of the voiceless…I think what’s important is approaching it in a way where we’re asking, ‘What are stories you feel like aren’t being told or how do you feel like you’ve been misrepresented or ignored?’” says Cueva.\u003c/p>\u003c/blockquote>\n\u003cp>Cueva says her journey into professional storytelling began after covering current events at Youth Radio (now \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media\u003c/a>) as a teen. While attending Ithaca College in New York, she began work on her first film, \u003ca href=\"http://www.theproviderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Provider\u003c/em>\u003c/a>, which follows Dr. Shannon Carr as she performs abortions in Texas in the midst of a heated battle for reproductive rights.\u003c/p>\n\u003cp>That film led to another, \u003cem>\u003ca href=\"https://www.mayamcueva.com/#/gipfel/\" target=\"_blank\" rel=\"noopener noreferrer\">On The Divide\u003c/a>\u003c/em>, which looks at the last abortion clinic on the U.S./Mexico border; the film is currently in production. Between creating those films, she’s produced an animated film about her father’s immigration experience to the U.S. from Peru, \u003ca href=\"https://www.mayamcueva.com/#/schwane/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Only the Moon/ Solamente La Luna\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>And earlier this month Cueva debuted \u003ca href=\"https://www.futureoffilmisfemale.com/ale-libre\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ale Libre\u003c/em>\u003c/a>. This story follows reproductive rights organizer and undocumented activist \u003ca href=\"https://keepalefree.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Alejandra Pablos\u003c/a> in her fight against deportation. The film recently debuted at the Big Sky Doc Fest, and later this month will be showing at the San Diego Latino Film Festival, Salem Film Festival and the Thin Line Fest.\u003c/p>\n\u003ch3>Alba Roland Mejia and Jon Warfield Harrison\u003c/h3>\n\u003cp>\u003cem>Episode drops March 12, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Untitled-design-3.png\" alt=\"Alba Roland Mejia and Jon Harrison\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Untitled-design-3-768x480.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alba Roland Mejia and Jon Warfield Harrison\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4172072923&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco State graduates Alba Roland Mejia and Jon Warfield Harrison are in the early stages of their careers as filmmakers. They’ve released a handful of short films which are artistic, a bit experimental and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>Their first collaboration,\u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. Their most recent work, \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, is an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February and made for a quality visual experience in the middle of Black History Month.\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive, and evidently this workflow rubs off on the people around them.\u003c/p>\n\u003cblockquote>\u003cp>“It was just beautiful to see,” says Jon Warfield Harrison, describing the day on the set when community members lent a hand to help production. “It was a collaboration between like 25 different humans. And then all these background people we didn’t even really know, just coming together to make a movie in Oakland.”\u003c/p>\u003c/blockquote>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly and collaborate with the community to create cinema.\u003c/p>\n\u003ch3>Theo Hollingsworth\u003c/h3>\n\u003cp>\u003cem>Episode drops March 19, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893565\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png\" alt=\"Theo Hollingsworth\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theo-Hollingsworth.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Theo Hollingsworth \u003ccite>(Spencer Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2903107781&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/teddy_ruxpin/\" target=\"_blank\" rel=\"noopener noreferrer\">Theo Hollingsworth\u003c/a> knows about nerds. Back when he attended Howard University, he was given the nickname “spoken nerd” because of his personality and passion for poetry.\u003c/p>\n\u003cblockquote>\u003cp>“A blerd, which I totally ride with, is a Black nerd.” says Hollingsworth. He has a theory that the rise of stories depicting quirky African Americans is a byproduct of social media. “It’s just so easy now to showcase your nerdy-ass sense of humor or your nerdy-ass interest in comic books or sci-fi or whatever. And when you put that out there, people tend to gravitate toward you.”\u003c/p>\u003c/blockquote>\n\u003cp>He says he’s happy to be a part of the trend. At the same time, given what he’s seen online, he’s started thinking maybe he’s not \u003cem>that\u003c/em> nerdy. “I’m like the level two-three nerd, you know what I mean?” says Hollingsworth.\u003c/p>\n\u003cp>With his day job at Pixar, Hollingsworth is a full-time media maker. But this episode we’re focusing on what he does in his spare time.\u003c/p>\n\u003cp>Hollingsworth’s independently produced comedic sci-fi series, \u003ca href=\"https://www.theohollingsworth.com/sirius-lee\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sirius Lee: The Problematic Time Transplant\u003c/em>\u003c/a>, dives into its own nerdom with quantum physics while addressing outdated perspectives on masculinity, gentrification and much more.\u003c/p>\n\u003cp>Hollingsworth, who grew up in Michigan, Tennessee and New York, has called the Bay Area home for nearly a decade. He has taken it upon himself to get ingrained in the community by doing production gigs with organizations like the \u003ca href=\"https://www.mandelagrocery.coop/\" target=\"_blank\" rel=\"noopener noreferrer\">Mandela Grocery Cooperative\u003c/a> and BAYCAT. With his latest series, Hollingsworth brings local businesses and Bay Area actors into the production process, telling a wacky fictional story that’s rooted in true community support.\u003c/p>\n\u003ch3>Cheryl Dunye\u003c/h3>\n\u003cp>\u003cem>Episode drops March 26, 2021\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13893563\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13893563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png\" alt=\"Cheryl Dunye\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Cheryl-Dunye.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunye \u003ccite>(Ed Salsbury)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaker \u003ca href=\"http://cheryldunye.com/services\" target=\"_blank\" rel=\"noopener noreferrer\">Cheryl Dunye\u003c/a> is a legend. She’s best known for her seminal film, \u003ca href=\"https://www.imdb.com/title/tt0118125/?ref_=nm_flmg_dr_9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watermelon Woman\u003c/em>\u003c/a>, which takes a critical look at the depiction of Black women in cinema; 2021 marks 25 years since it debuted.\u003c/p>\n\u003cp>In making that film, Dunye, a graduate of Temple University and Rutgers University, created her own style of filmmaking known as “Dunyementary.” It’s a hybrid of first-person documentary and scripted fiction. But in talking to me, Dunye breaks it down to its most simplistic form, “the Dunyementary is Do Your Own Mentary.”\u003c/p>\n\u003cp>Since then, Dunye has put multiple films under her belt. Most of them do the work that Hollywood hasn’t: putting Black women and queer and trans people in leading roles.\u003c/p>\n\u003cp>She’s also working on TV shows, directing episodes of \u003cem>Lovecraft Country\u003c/em> and \u003cem>Queen Sugar\u003c/em>, to name a few.\u003c/p>\n\u003cp>Dunye, a proud product of Philadelphia, has made Oakland her chosen home for over a decade. She’s even named her production company after a neighborhood in East Oakland, \u003ca href=\"https://www.jingletownfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jingletown Films,\u003c/a> and has also produced a film set in Oakland, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt3593320/\" target=\"_blank\" rel=\"noopener noreferrer\">Black is Blue\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Oakland is historically one of the most powerful Black spaces, woman spaces and queer spaces in the world,” says Dunye, and this intersecting epicenter pulled her to move here in 2010.\u003c/p>\n\u003cp>“It’s about Blackness, and liveliness, and realness,” says Dunye, which is true of Oakland, but also of Dunye.\u003c/p>\n\u003cp>The Bay Area has a rich history when it comes to filmmaking. The list of movies made here includes some heavy hitters: \u003cem>The House On Telegraph Hill, The Birds, The Mack, \u003c/em>\u003cem>Guess Who’s Coming To Dinner\u003c/em>?, \u003cem>The Joy Luck Club\u003c/em>, \u003cem>Mrs. Doubtfire, \u003c/em>\u003cem>The Pursuit of Happyness, The Princess Diaries, Godzilla, Coach Carter,\u003c/em> \u003cem>Blindspotting, Fruitvale Station\u003c/em> and\u003cem> Sorry to Bother You \u003c/em>to name a few\u003cem>.\u003c/em> I’m not even going to try to list off all of the filmmakers from here, but I will say that both those who are from The Bay and the people who choose to make films here carry the tradition of telling stories that incorporate the Bay Area’s scenic landscapes and deep culture. And there’s nothing like seeing home on the silver screen.\u003c/p>\n\u003cp>With this series, our aim is to give a little light to a few people who are taking the filmmaking baton and running with it right now… ish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_1331","arts_1118","arts_977","arts_3852","arts_12322","arts_13678","arts_3465","arts_1900","arts_6764"],"featImg":"arts_13893661","label":"source_arts_13893541"},"arts_13890765":{"type":"posts","id":"arts_13890765","meta":{"index":"posts_1591205157","site":"arts","id":"13890765","score":null,"sort":[1608768714000]},"guestAuthors":[],"slug":"now-playing-sixties-space-saudi-silencers-and-soul","title":"Now Playing! Sixties Space, Saudi Silencers and ‘Soul’","publishDate":1608768714,"format":"standard","headTitle":"Now Playing! Sixties Space, Saudi Silencers and ‘Soul’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The annual Christmas Day escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to a Groundhog Day marathon of \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Elf\u003c/em> and \u003cem>A Christmas Story\u003c/em>. My pick for an all-day loop is the Alameda-set \u003cem>\u003ca href=\"https://youtu.be/Ru5H3LHiU1M\" rel=\"noopener noreferrer\" target=\"_blank\">Waltz of the Snowflakes\u003c/a>\u003c/em>, a bravura collaboration between choreographer and Post:ballet artistic director Robert Dekkers, cinematographer Ben Tarquin and Post:ballet and Berkeley Ballet Theater Studio Company dance artists.\u003c/p>\n\u003cp>Another Hole in the Head Film Festival offers a weirder Dec. 25 diversion, with San Francisco Art Institute alumnus Christopher Coppola introducing his 1986 short film \u003cem>Palmer’s Pick-up\u003c/em> and his expanded 1999 feature of the same name. The streaming \u003ca href=\"https://www.ahith.com/events/sfai-benefit-palmers-pick-up-an-american-roadshow-odyssey-retrospective-with-christopher-coppola-live-intro-and-q-a\" rel=\"noopener noreferrer\" target=\"_blank\">screening\u003c/a> benefits a student scholarship fund and, adding to the cheer, Coppola joins actors Robert Carradine, Patrick Kilpatrick and Charles Fleischer for a (just guessing) nog-fueled conversation.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Soul\u003c/strong>\u003c/em>\u003cbr>\nPremieres Dec. 25\u003cbr>\nDisney Plus\u003c/p>\n\u003cp>The creative excitement in American movies these days is found in animated films. (Don’t call them cartoons). By that high standard, Pixar hews closest to the sensibility of Disney’s most happily deranged and musically inspired outlier, \u003cem>Fantasia\u003c/em>. Like that dizzy romp, \u003cem>Soul\u003c/em> is aimed at tripping hipsters along with wide-eyed children.\u003c/p>\n\u003cp>The East Bay studio’s latest beautifully rendered, mind-expanding effort was slated to open in June in theaters, but its holiday home-landing is a fine fit with its life-affirming themes. Joe (voiced by Jamie Foxx), a middle-aged Black music teacher in a New York public school, senses the window closing on his jazz dream until he catches a career break. When the rug—er, manhole cover—is yanked out from under him, he’s hurled into an alternate universe and launched on a frenetic quest to get back, Joe, where he once belonged.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sorry, the Beatles don’t reunite in \u003cem>Soul\u003c/em>, although Dylan’s \u003cem>Subterranean Homesick Blues\u003c/em> does make a cameo appearance on the soundtrack. Joe’s fate is tethered to that of a young soul (the ubiquitous Tina Fey) who’s pathologically reluctant to come to Earth. Eventually (spoiler alert) she chooses life, setting the stage for a sunny September day in 2021 when the Castro pairs \u003cem>Soul\u003c/em> on a double bill with \u003cem>Trainspotting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13890772\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ikarie XB-1,’ 1963. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Ikarie XB-1\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://bampfa.org/event/ikarie-xb-1\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>“The Earth is gone!” screams a panic-stricken traveler. And then he shrieks, “The Earth never existed!” Czech director Jindrich Polák launches his first-rate black-and-white 1963 space trek with a crescendo of high drama that cleverly serves as both foreshadowing and misdirection. While home exerts a pull on many of the 40 people on the 22nd-century “space town” Ikarie XB-1, the society forged aboard the ship has its own magnetic draw. And although the outburst is disturbing, it’s an anomaly in this sober yet tactile drama, which was beautifully restored in 2016.\u003c/p>\n\u003cp>The famed Polish author Stanislaw Lem wrote the source novel, and he also wrote \u003cem>Solaris\u003c/em>, which Andrei Tarkovsky brilliantly filmed in 1968. The movies share a fascination with responses to extended separation, but prolonged proximity provides an equally daunting challenge in \u003cem>Ikarie XB-1\u003c/em>. (A clumsily edited and dubbed version was released under the title \u003cem>Voyage to the End of the Universe\u003c/em>.)\u003c/p>\n\u003cp>The minimalist yet sophisticated production design, along with Polák’s emphasis on interpersonal dynamics (encompassing friendship, romance and scientific dispassion) over admittedly intriguing technology, prevents \u003cem>Ikarie XB-1\u003c/em> from feeling campy or dated. If a ’60s idealism permeates the proceedings, it’s grounded in a recognition of the limitations, as well as the aspirations, of human beings. And, importantly, in an abiding acknowledgement of our shared fate on this fragile planet—which puts \u003cem>Ikarie XB-1\u003c/em> on course for family holiday viewing. \u003c/p>\n\u003cfigure id=\"attachment_13890774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13890774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Dissident,’ 2020. \u003ccite>(Courtesy Briarcliff Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Dissident\u003c/strong>\u003c/em>\u003cbr>\nOpens Dec. 25 in theaters and Jan. 8 on demand\u003c/p>\n\u003cp>Bryan Fogel’s globe-hopping investigation of the 2018 disappearance of Jamal Khashoggi, a longtime Saudi Arabian insider who fled to the West and became an analyst and writer for the \u003cem>Washington Post\u003c/em> (among other outlets), does not fit with my carefully constructed thread of life-affirming, holiday-appropriate movies. So maybe it’s just as well that it’s not playing at a theater near the Bay Area, and you’ll have to wait a few weeks to catch it at home.\u003c/p>\n\u003cp>Everyone knows the rough outline of the case, which is that Khashoggi kept an appointment at the Saudi embassy in Ankara, Turkey (to pick up a document he needed in order to remarry) and was ambushed and killed in the building. The Saudis denied it (although their story changed a few times), most of the world expressed shock and disgust and the occupant of the White House looked the other way.\u003c/p>\n\u003cp>\u003cem>The Dissident\u003c/em> supplies additional, gruesome details of Khashoggi’s demise, thanks to the surprising (to me, at least) testimony of knowledgeable Turkish officials. At the same time, it places his death in the context of Crown Prince Mohammed bin Salman’s crackdown on protestors and freedom fighters at home and abroad. Omar Abdulaziz, a Saudi activist living in Canada who the film develops into a primary character, revises the public perception of Khashoggi as a journalist: He asserts that by cooperating with Abdulaziz’s social media campaign to advance reform ideas among Saudi Arabia’s youth, Khashoggi became (in MBS’s eyes) an enemy of the state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fogel turns the absurdly suspenseful soundtrack up to nine, an unsubtle choice that threatens to turn every elevator ride and conference panel into a Tom Clancy scene. Tune it out, or down, and the shocking hubris and brutality of the murder of Jamal Khashoggi still comes through piercingly. As we embark on a new year, with a new administration, let’s agree to reengage with the world on a higher moral plane.\u003c/p>\n\n","blocks":[],"excerpt":"The Christmas escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to an ‘Elf’ marathon.","status":"publish","parent":0,"modified":1705019695,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1030},"headData":{"title":"Now Playing! Sixties Space, Saudi Silencers and ‘Soul’ | KQED","description":"The Christmas escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to an ‘Elf’ marathon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Sixties Space, Saudi Silencers and ‘Soul’","datePublished":"2020-12-24T00:11:54.000Z","dateModified":"2024-01-12T00:34:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890765/now-playing-sixties-space-saudi-silencers-and-soul","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual Christmas Day escape to the multiplex may not be an option, but that doesn’t mean you’re condemned to a Groundhog Day marathon of \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Elf\u003c/em> and \u003cem>A Christmas Story\u003c/em>. My pick for an all-day loop is the Alameda-set \u003cem>\u003ca href=\"https://youtu.be/Ru5H3LHiU1M\" rel=\"noopener noreferrer\" target=\"_blank\">Waltz of the Snowflakes\u003c/a>\u003c/em>, a bravura collaboration between choreographer and Post:ballet artistic director Robert Dekkers, cinematographer Ben Tarquin and Post:ballet and Berkeley Ballet Theater Studio Company dance artists.\u003c/p>\n\u003cp>Another Hole in the Head Film Festival offers a weirder Dec. 25 diversion, with San Francisco Art Institute alumnus Christopher Coppola introducing his 1986 short film \u003cem>Palmer’s Pick-up\u003c/em> and his expanded 1999 feature of the same name. The streaming \u003ca href=\"https://www.ahith.com/events/sfai-benefit-palmers-pick-up-an-american-roadshow-odyssey-retrospective-with-christopher-coppola-live-intro-and-q-a\" rel=\"noopener noreferrer\" target=\"_blank\">screening\u003c/a> benefits a student scholarship fund and, adding to the cheer, Coppola joins actors Robert Carradine, Patrick Kilpatrick and Charles Fleischer for a (just guessing) nog-fueled conversation.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Soul\u003c/strong>\u003c/em>\u003cbr>\nPremieres Dec. 25\u003cbr>\nDisney Plus\u003c/p>\n\u003cp>The creative excitement in American movies these days is found in animated films. (Don’t call them cartoons). By that high standard, Pixar hews closest to the sensibility of Disney’s most happily deranged and musically inspired outlier, \u003cem>Fantasia\u003c/em>. Like that dizzy romp, \u003cem>Soul\u003c/em> is aimed at tripping hipsters along with wide-eyed children.\u003c/p>\n\u003cp>The East Bay studio’s latest beautifully rendered, mind-expanding effort was slated to open in June in theaters, but its holiday home-landing is a fine fit with its life-affirming themes. Joe (voiced by Jamie Foxx), a middle-aged Black music teacher in a New York public school, senses the window closing on his jazz dream until he catches a career break. When the rug—er, manhole cover—is yanked out from under him, he’s hurled into an alternate universe and launched on a frenetic quest to get back, Joe, where he once belonged.\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>Sorry, the Beatles don’t reunite in \u003cem>Soul\u003c/em>, although Dylan’s \u003cem>Subterranean Homesick Blues\u003c/em> does make a cameo appearance on the soundtrack. Joe’s fate is tethered to that of a young soul (the ubiquitous Tina Fey) who’s pathologically reluctant to come to Earth. Eventually (spoiler alert) she chooses life, setting the stage for a sunny September day in 2021 when the Castro pairs \u003cem>Soul\u003c/em> on a double bill with \u003cem>Trainspotting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13890772\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13890772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Polak_Ikarie-XB-1_001-1-1536x864.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ikarie XB-1,’ 1963. \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Ikarie XB-1\u003c/strong>\u003c/em>\u003cbr>\nNow streaming\u003cbr>\n\u003ca href=\"https://bampfa.org/event/ikarie-xb-1\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/p>\n\u003cp>“The Earth is gone!” screams a panic-stricken traveler. And then he shrieks, “The Earth never existed!” Czech director Jindrich Polák launches his first-rate black-and-white 1963 space trek with a crescendo of high drama that cleverly serves as both foreshadowing and misdirection. While home exerts a pull on many of the 40 people on the 22nd-century “space town” Ikarie XB-1, the society forged aboard the ship has its own magnetic draw. And although the outburst is disturbing, it’s an anomaly in this sober yet tactile drama, which was beautifully restored in 2016.\u003c/p>\n\u003cp>The famed Polish author Stanislaw Lem wrote the source novel, and he also wrote \u003cem>Solaris\u003c/em>, which Andrei Tarkovsky brilliantly filmed in 1968. The movies share a fascination with responses to extended separation, but prolonged proximity provides an equally daunting challenge in \u003cem>Ikarie XB-1\u003c/em>. (A clumsily edited and dubbed version was released under the title \u003cem>Voyage to the End of the Universe\u003c/em>.)\u003c/p>\n\u003cp>The minimalist yet sophisticated production design, along with Polák’s emphasis on interpersonal dynamics (encompassing friendship, romance and scientific dispassion) over admittedly intriguing technology, prevents \u003cem>Ikarie XB-1\u003c/em> from feeling campy or dated. If a ’60s idealism permeates the proceedings, it’s grounded in a recognition of the limitations, as well as the aspirations, of human beings. And, importantly, in an abiding acknowledgement of our shared fate on this fragile planet—which puts \u003cem>Ikarie XB-1\u003c/em> on course for family holiday viewing. \u003c/p>\n\u003cfigure id=\"attachment_13890774\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13890774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/TheDissident_Still_R5_05112817_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Dissident,’ 2020. \u003ccite>(Courtesy Briarcliff Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>The Dissident\u003c/strong>\u003c/em>\u003cbr>\nOpens Dec. 25 in theaters and Jan. 8 on demand\u003c/p>\n\u003cp>Bryan Fogel’s globe-hopping investigation of the 2018 disappearance of Jamal Khashoggi, a longtime Saudi Arabian insider who fled to the West and became an analyst and writer for the \u003cem>Washington Post\u003c/em> (among other outlets), does not fit with my carefully constructed thread of life-affirming, holiday-appropriate movies. So maybe it’s just as well that it’s not playing at a theater near the Bay Area, and you’ll have to wait a few weeks to catch it at home.\u003c/p>\n\u003cp>Everyone knows the rough outline of the case, which is that Khashoggi kept an appointment at the Saudi embassy in Ankara, Turkey (to pick up a document he needed in order to remarry) and was ambushed and killed in the building. The Saudis denied it (although their story changed a few times), most of the world expressed shock and disgust and the occupant of the White House looked the other way.\u003c/p>\n\u003cp>\u003cem>The Dissident\u003c/em> supplies additional, gruesome details of Khashoggi’s demise, thanks to the surprising (to me, at least) testimony of knowledgeable Turkish officials. At the same time, it places his death in the context of Crown Prince Mohammed bin Salman’s crackdown on protestors and freedom fighters at home and abroad. Omar Abdulaziz, a Saudi activist living in Canada who the film develops into a primary character, revises the public perception of Khashoggi as a journalist: He asserts that by cooperating with Abdulaziz’s social media campaign to advance reform ideas among Saudi Arabia’s youth, Khashoggi became (in MBS’s eyes) an enemy of the state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fogel turns the absurdly suspenseful soundtrack up to nine, an unsubtle choice that threatens to turn every elevator ride and conference panel into a Tom Clancy scene. Tune it out, or down, and the shocking hubris and brutality of the murder of Jamal Khashoggi still comes through piercingly. As we embark on a new year, with a new administration, let’s agree to reengage with the world on a higher moral plane.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890765/now-playing-sixties-space-saudi-silencers-and-soul","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_2227","arts_10278","arts_977","arts_1900","arts_3992","arts_956","arts_6427","arts_585"],"featImg":"arts_13890775","label":"arts_140"},"arts_13833812":{"type":"posts","id":"arts_13833812","meta":{"index":"posts_1591205157","site":"arts","id":"13833812","score":null,"sort":[1527865259000]},"guestAuthors":[],"slug":"real-artists-imagines-a-world-where-ai-replaces-human-filmmakers","title":"'Real Artists' Imagines a World Where AI Replaces Human Filmmakers","publishDate":1527865259,"format":"standard","headTitle":"‘Real Artists’ Imagines a World Where AI Replaces Human Filmmakers | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>If you’re the sort of sentimental filmgoer who believes in the power of auteur directors and star actors to carry a movie, \u003ca href=\"https://www.realartists.film/\" target=\"_blank\" rel=\"noopener\">\u003cem>Real Artists\u003c/em>\u003c/a>\u003cem>,\u003c/em> a new, slickly sinister short film, will provide much to talk about—and fret over.\u003c/p>\n\u003cp>Written and directed by up-and-coming San Francisco filmmaker Cameo Wood, the 12-minute movie tells the story of a young woman (played by Tiffany Hines) who lands her dream job at a major digital animation studio. She soon discovers a creative process so machine-driven and manipulative that it’s impossible to tell who—or what—ultimately has control over the end product and its reception.\u003c/p>\n\u003cp>Wood came to filmmaking from a career in tech. \u003cem>Real Artists\u003c/em>, which is based on a short story by fantasy writer Ken Liu, is up for a “Best Short” prize for emerging filmmakers at Saturday’s AT&T Film Awards in Los Angeles, with director Ava DuVernay presiding over the event. KQED caught up with Wood to hear more of her thoughts about this weekend’s festivities and the future of the movie industry.\u003c/p>\n\u003cfigure id=\"attachment_13833887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg\" alt=\"Cameo Wood directs a shoot.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameo Wood directs a shoot. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to make this film?\u003c/strong>\u003c/p>\n\u003cp>I love science fiction and have a background in neuroscience and artificial intelligence. So when I read the short story that \u003cem>Real Artists\u003c/em> was based on, I thought this is a movie that I could uniquely tell in an authentic and science-based way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Although your film is set at a fictional animation company, Semaphore, it clearly takes a dig at the real-world animation player, Pixar. Why go after that studio in particular?\u003c/strong>\u003c/p>\n\u003cp>It sort of digs at Pixar. I think we as a society are very tolerant of companies abusing our email, relationships, locations, conversation, etc. for marketing use. It makes sense to me that in the near future, corporations can verify Non-Disclosure Agreements (NDAs) with neurochemical means, not just pieces of paper. I think this may be the future, and it has nothing to do with Pixar per se, but rather with large and powerful corporations in general. Also, I think that it is very human for us to believe that artistic merit is based in our humanity. We don’t like the idea that Artificial Intelligence (AI) could make better films than any human auteur. So the film is mostly about how people would respond to learning that a highly respected animation company is using AI to make their beloved movies. I have nothing against Pixar. I love their work; they are the epitome of animation excellence. And so, of course, we modeled Semaphore after them. That said, there is a line in the film about hiring women to work in the industry that is certainly a dig at all animation studios, Pixar included. They all need to do better. We need more women directing and leading the development of films. Pixar has a massively influential impact on world culture, and they need to do better.\u003c/p>\n\u003cfigure id=\"attachment_13833885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg\" alt=\"San Francisco Filmmaker Cameo Wood with the cast and crew of 'Real Artists'.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1200x678.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Filmmaker Cameo Wood with the cast and crew of ‘Real Artists’. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What message do you want to convey about the future of filmmaking with this movie?\u003c/strong>\u003c/p>\n\u003cp>We already use AI in filmmaking. We use AI to cut trailers, write screenplays and even analyze scripts. I think that as AI becomes more intelligent and nuanced, we absolutely will see more of an analytical and algorithmic focus on screenplays and production.\u003c/p>\n\u003cp>\u003cstrong>The film presents quite a dark view of the animation industry. Can you envisage any rays of light or redeeming qualities? And if so, what are they?\u003c/strong>\u003c/p>\n\u003cp>My film does portray a potential dark future, but I am personally very optimistic. Movies like \u003cem>Moana\u003c/em> show what I hope is a new wave of storytelling that embraces and lifts up cultures, instead of making caricatures of them. I think that animation is a very special medium that engages and inspires people of all ages. Now that animation tools are becoming cheaper and easier to use, I think that it will become much easier for a person to make a film on their phone or home computer, and have it be as beautiful and dynamic as the films we see today. Animation is also special because of how easy it is to re-dub animated films into other languages, so that films appear to have been made in the native language of the viewer. This is exciting and empowering, and something Pixar does perfectly.\u003c/p>\n\u003cp>\u003cstrong>How important are the AT&T Film Awards to you in terms of your trajectory as a director?\u003c/strong>\u003c/p>\n\u003cp>The AT&T Film Awards are very prestigious, and the Emerging Filmmaker Award allows all three nominated directors to meet with Ava DuVernay to discuss our careers and projects. Because I live in San Francisco, not Los Angeles, I find that any chance to show my work in front of professional L.A. audiences is always a massive benefit to my career. Plus, this award comes with a large cash prize, which would help me with my next film!\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183600832?dnt=1&app_id=122963\" width=\"500\" height=\"250\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>How would you describe current landscape of opportunity for movie directors of color and female movie directors? What will it take for things to get to a place of more equal opportunity?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a strange balancing act. For my film, I insisted that the cast and crew be 50 percent people of color and 50 percent women. That was a massive challenge, mostly because there are so few of both of these groups in the industry. We were relentless, though, and we achieved 75 percent women, 50 percent people of color, 20 percent LGBTQ, and 20 percent people with disabilities. I’m incredibly proud of those numbers and I look forward to doing it again.\u003c/p>\n\n","blocks":[],"excerpt":"A Q&A with San Francisco filmmaker Cameo Wood, whose new short film imagines algorithm overlords taking over the movie industry.","status":"publish","parent":0,"modified":1705027720,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":979},"headData":{"title":"'Real Artists' Imagines a World Where AI Replaces Human Filmmakers | KQED","description":"A Q&A with San Francisco filmmaker Cameo Wood, whose new short film imagines algorithm overlords taking over the movie industry.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Real Artists' Imagines a World Where AI Replaces Human Filmmakers","datePublished":"2018-06-01T15:00:59.000Z","dateModified":"2024-01-12T02:48:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13833812/real-artists-imagines-a-world-where-ai-replaces-human-filmmakers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re the sort of sentimental filmgoer who believes in the power of auteur directors and star actors to carry a movie, \u003ca href=\"https://www.realartists.film/\" target=\"_blank\" rel=\"noopener\">\u003cem>Real Artists\u003c/em>\u003c/a>\u003cem>,\u003c/em> a new, slickly sinister short film, will provide much to talk about—and fret over.\u003c/p>\n\u003cp>Written and directed by up-and-coming San Francisco filmmaker Cameo Wood, the 12-minute movie tells the story of a young woman (played by Tiffany Hines) who lands her dream job at a major digital animation studio. She soon discovers a creative process so machine-driven and manipulative that it’s impossible to tell who—or what—ultimately has control over the end product and its reception.\u003c/p>\n\u003cp>Wood came to filmmaking from a career in tech. \u003cem>Real Artists\u003c/em>, which is based on a short story by fantasy writer Ken Liu, is up for a “Best Short” prize for emerging filmmakers at Saturday’s AT&T Film Awards in Los Angeles, with director Ava DuVernay presiding over the event. KQED caught up with Wood to hear more of her thoughts about this weekend’s festivities and the future of the movie industry.\u003c/p>\n\u003cfigure id=\"attachment_13833887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg\" alt=\"Cameo Wood directs a shoot.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoWood-Smarthouse-Creative.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cameo Wood directs a shoot. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What inspired you to make this film?\u003c/strong>\u003c/p>\n\u003cp>I love science fiction and have a background in neuroscience and artificial intelligence. So when I read the short story that \u003cem>Real Artists\u003c/em> was based on, I thought this is a movie that I could uniquely tell in an authentic and science-based way.\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>Although your film is set at a fictional animation company, Semaphore, it clearly takes a dig at the real-world animation player, Pixar. Why go after that studio in particular?\u003c/strong>\u003c/p>\n\u003cp>It sort of digs at Pixar. I think we as a society are very tolerant of companies abusing our email, relationships, locations, conversation, etc. for marketing use. It makes sense to me that in the near future, corporations can verify Non-Disclosure Agreements (NDAs) with neurochemical means, not just pieces of paper. I think this may be the future, and it has nothing to do with Pixar per se, but rather with large and powerful corporations in general. Also, I think that it is very human for us to believe that artistic merit is based in our humanity. We don’t like the idea that Artificial Intelligence (AI) could make better films than any human auteur. So the film is mostly about how people would respond to learning that a highly respected animation company is using AI to make their beloved movies. I have nothing against Pixar. I love their work; they are the epitome of animation excellence. And so, of course, we modeled Semaphore after them. That said, there is a line in the film about hiring women to work in the industry that is certainly a dig at all animation studios, Pixar included. They all need to do better. We need more women directing and leading the development of films. Pixar has a massively influential impact on world culture, and they need to do better.\u003c/p>\n\u003cfigure id=\"attachment_13833885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg\" alt=\"San Francisco Filmmaker Cameo Wood with the cast and crew of 'Real Artists'.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1200x678.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/CameoandCrew-e1527727596561.jpg 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Filmmaker Cameo Wood with the cast and crew of ‘Real Artists’. \u003ccite>(Courtesy of Smarthouse Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What message do you want to convey about the future of filmmaking with this movie?\u003c/strong>\u003c/p>\n\u003cp>We already use AI in filmmaking. We use AI to cut trailers, write screenplays and even analyze scripts. I think that as AI becomes more intelligent and nuanced, we absolutely will see more of an analytical and algorithmic focus on screenplays and production.\u003c/p>\n\u003cp>\u003cstrong>The film presents quite a dark view of the animation industry. Can you envisage any rays of light or redeeming qualities? And if so, what are they?\u003c/strong>\u003c/p>\n\u003cp>My film does portray a potential dark future, but I am personally very optimistic. Movies like \u003cem>Moana\u003c/em> show what I hope is a new wave of storytelling that embraces and lifts up cultures, instead of making caricatures of them. I think that animation is a very special medium that engages and inspires people of all ages. Now that animation tools are becoming cheaper and easier to use, I think that it will become much easier for a person to make a film on their phone or home computer, and have it be as beautiful and dynamic as the films we see today. Animation is also special because of how easy it is to re-dub animated films into other languages, so that films appear to have been made in the native language of the viewer. This is exciting and empowering, and something Pixar does perfectly.\u003c/p>\n\u003cp>\u003cstrong>How important are the AT&T Film Awards to you in terms of your trajectory as a director?\u003c/strong>\u003c/p>\n\u003cp>The AT&T Film Awards are very prestigious, and the Emerging Filmmaker Award allows all three nominated directors to meet with Ava DuVernay to discuss our careers and projects. Because I live in San Francisco, not Los Angeles, I find that any chance to show my work in front of professional L.A. audiences is always a massive benefit to my career. Plus, this award comes with a large cash prize, which would help me with my next film!\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183600832?dnt=1&app_id=122963\" width=\"500\" height=\"250\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>How would you describe current landscape of opportunity for movie directors of color and female movie directors? What will it take for things to get to a place of more equal opportunity?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a strange balancing act. For my film, I insisted that the cast and crew be 50 percent people of color and 50 percent women. That was a massive challenge, mostly because there are so few of both of these groups in the industry. We were relentless, though, and we achieved 75 percent women, 50 percent people of color, 20 percent LGBTQ, and 20 percent people with disabilities. I’m incredibly proud of those numbers and I look forward to doing it again.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13833812/real-artists-imagines-a-world-where-ai-replaces-human-filmmakers","authors":["8608"],"categories":["arts_71","arts_74","arts_235"],"tags":["arts_3850","arts_1118","arts_596","arts_1900","arts_989"],"featImg":"arts_13834047","label":"arts"},"arts_13827261":{"type":"posts","id":"arts_13827261","meta":{"index":"posts_1591205157","site":"arts","id":"13827261","score":null,"sort":[1521067166000]},"guestAuthors":[],"slug":"weve-come-a-long-way-since-steamboat-willie","title":"GLAS Fest: We've Come a Long Way Since 'Steamboat Willie'","publishDate":1521067166,"format":"standard","headTitle":"GLAS Fest: We’ve Come a Long Way Since ‘Steamboat Willie’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There’s no doubt that animation is big business. But a festival in Berkeley wants to showcase, and nurture, the artistry of indie animation. That’s the GLAS Fest — the Global Animation Syndicate Festival — featuring work from animators around the world.\u003c/p>\n\u003cp>The festival’s variety means you get feature films like \u003cem>The Lego Movie\u003c/em>, but also experimental shorts and international works. And if you’re an aspiring animator yourself, you’ll find plenty of behind-the-scenes programs about how animation studios work. There’ll even be representatives from Nickelodeon and Cartoon Network who can review your portfolio and give you direction on the spot.\u003c/p>\n\u003cp>But GLAS isn’t really a festival for kids. As festival director Jeanette Bonds says, “A lot of what we’re showing is not geared toward children. It’s much more adult-focused. These are serious films and serious filmmaking that happens to be animated.”\u003c/p>\n\u003cp>The GLAS Animation Festival is at six different venues in Berkeley. It runs March 22–25; \u003ca href=\"http://www.glasanimation.com/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Berkeley's Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.","status":"publish","parent":0,"modified":1705028267,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":184},"headData":{"title":"GLAS Fest: We've Come a Long Way Since 'Steamboat Willie' | KQED","description":"Berkeley's Global Animation Syndicate Fest shows just how much animation has exploded, both artistically and economically.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"GLAS Fest: We've Come a Long Way Since 'Steamboat Willie'","datePublished":"2018-03-14T22:39:26.000Z","dateModified":"2024-01-12T02:57:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13827261/weve-come-a-long-way-since-steamboat-willie","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no doubt that animation is big business. But a festival in Berkeley wants to showcase, and nurture, the artistry of indie animation. That’s the GLAS Fest — the Global Animation Syndicate Festival — featuring work from animators around the world.\u003c/p>\n\u003cp>The festival’s variety means you get feature films like \u003cem>The Lego Movie\u003c/em>, but also experimental shorts and international works. And if you’re an aspiring animator yourself, you’ll find plenty of behind-the-scenes programs about how animation studios work. There’ll even be representatives from Nickelodeon and Cartoon Network who can review your portfolio and give you direction on the spot.\u003c/p>\n\u003cp>But GLAS isn’t really a festival for kids. As festival director Jeanette Bonds says, “A lot of what we’re showing is not geared toward children. It’s much more adult-focused. These are serious films and serious filmmaking that happens to be animated.”\u003c/p>\n\u003cp>The GLAS Animation Festival is at six different venues in Berkeley. It runs March 22–25; \u003ca href=\"http://www.glasanimation.com/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13827261/weve-come-a-long-way-since-steamboat-willie","authors":["185"],"programs":["arts_140"],"categories":["arts_74","arts_70"],"tags":["arts_4262","arts_1270","arts_596","arts_1900"],"featImg":"arts_13827265","label":"arts_140"},"arts_13815807":{"type":"posts","id":"arts_13815807","meta":{"index":"posts_1591205157","site":"arts","id":"13815807","score":null,"sort":[1511532051000]},"guestAuthors":[],"slug":"in-coco-pixar-finds-joyous-life-in-death","title":"In 'Coco,' Pixar Finds Joyous Life — In Death","publishDate":1511532051,"format":"standard","headTitle":"In ‘Coco,’ Pixar Finds Joyous Life — In Death | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rvr68u6k5sI\u003c/p>\n\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n","blocks":[],"excerpt":"A young Mexican boy who longs for music finds himself in the afterlife in a movie that will inspire joyous tears — and plenty of long-distance calls to grandmothers.","status":"publish","parent":0,"modified":1705029043,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":480},"headData":{"title":"In 'Coco,' Pixar Finds Joyous Life — In Death | KQED","description":"A young Mexican boy who longs for music finds himself in the afterlife in a movie that will inspire joyous tears — and plenty of long-distance calls to grandmothers.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 'Coco,' Pixar Finds Joyous Life — In Death","datePublished":"2017-11-24T14:00:51.000Z","dateModified":"2024-01-12T03:10:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Bob Mondello","nprImageAgency":"Pixar","nprStoryId":"564869134","nprApiLink":"http://api.npr.org/query?id=564869134&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2017/11/22/564869134/in-coco-pixar-finds-joyous-life-in-death?ft=nprml&f=564869134","nprRetrievedStory":"1","nprPubDate":"Wed, 22 Nov 2017 17:31:00 -0500","nprStoryDate":"Wed, 22 Nov 2017 06:49:00 -0500","nprLastModifiedDate":"Wed, 22 Nov 2017 20:02:08 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/11/20171122_atc_in_coco_pixar_finds_joyous_life_in_death.mp3?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134","nprAudioM3u":"http://api.npr.org/m3u/1566098819-404571.m3u?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134","path":"/arts/13815807/in-coco-pixar-finds-joyous-life-in-death","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/11/20171122_atc_in_coco_pixar_finds_joyous_life_in_death.mp3?orgId=1&topicId=4467349&d=182&p=2&story=564869134&ft=nprml&f=564869134","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar’s animators seem willing to go anywhere in pursuit of fresh enchantment. They plunged to the ocean’s depths in \u003cem>Finding Nemo\u003c/em>, took to the sky with helium balloons in \u003cem>Up\u003c/em> and entered a child’s mind in \u003cem>Inside Out\u003c/em>. Now, in the movie Coco, they — and we — are visiting the afterlife.\u003c/p>\n\u003cp>We get there alongside young Miguel (voiced by Anthony Gonzalez), who lives with his shoemaking family in a Mexican village. He’s a happy kid, except for one thing: His family has lived an entirely music-free existence for three generations. His grandmother (Renee Victor) has forbidden it all — no blowing into soda bottles, no listening to passing car radios and absolutely \u003cem>no \u003c/em>mariachis.\u003c/p>\n\u003cp>Miguel knows why. Years ago, his musical great-great-grandfather grabbed his guitar and left, never to return. On Dia de Muertos — the Day of the Dead — when it’s said the deceased return to visit their families, no one so much as mentions great-great-granddad. Which means Miguel gets a bit of a shock when he strums a guitar in a cemetery on that day and finds himself and his street puppy Dante — get it? — transported to the land of the dead.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Rvr68u6k5sI'\n title='//www.youtube.com/embed/Rvr68u6k5sI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an eye-popping and lively sort of Hades, with streets paved in fluorescent flower petals and skeletons performing production numbers about dancing papaya seeds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The plot, arguably, comes packed with more complications and psychedelic spirit-critters than it really needs. But you can’t blame Pixar’s animators for having a field day with the film’s imagery, which speaks so centrally to the studio’s preoccupation with the concept of family.\u003c/p>\n\u003cp>The Coco of the title, I should mention, is Miguel’s great-grandmother, the child of that musical great-great-grandfather who never came back. She anchors the film as you’d expect a matriarch to do. She also figures in a moment that will reduce audiences to tears as surely as did that passage in \u003cem>Up a\u003c/em>bout the grumpy old man losing his wife.\u003c/p>\n\u003cp>In both cases, the tears are joyous — they’re about the memories that can unite families and even transcend death. And while \u003cem>Coco \u003c/em>strikes plenty of dutiful comic kid-flick poses, it’s no accident that its big song is called “Remember Me,” or that its plot centers on Mexico’s Day of the Dead.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The final credits end with a note that Dia de Muertos is a tradition rooted in the lore of Indigenous peoples. “To learn more,” says a legend on the screen, “visit your local library.” I bet a lot of folks will — after they call their grandmothers.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13815807/in-coco-pixar-finds-joyous-life-in-death","authors":["byline_arts_13815807"],"categories":["arts_74"],"tags":["arts_1118","arts_977","arts_1900","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13815808","label":"arts_137"},"arts_13445621":{"type":"posts","id":"arts_13445621","meta":{"index":"posts_1591205157","site":"arts","id":"13445621","score":null,"sort":[1497625240000]},"guestAuthors":[],"slug":"cars-3-comes-roaring-back-with-a-swapped-out-story-engine","title":"'Cars 3' Comes Roaring Back With A Swapped-Out (Story) Engine","publishDate":1497625240,"format":"standard","headTitle":"‘Cars 3’ Comes Roaring Back With A Swapped-Out (Story) Engine | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"A franchise many worried was running on fumes finds more fuel in the tank thanks to a new director, dazzling set-pieces and a fresh take on themes of aging and mentorship.","status":"publish","parent":0,"modified":1705030319,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":976},"headData":{"title":"'Cars 3' Comes Roaring Back With A Swapped-Out (Story) Engine | KQED","description":"A franchise many worried was running on fumes finds more fuel in the tank thanks to a new director, dazzling set-pieces and a fresh take on themes of aging and mentorship.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Cars 3' Comes Roaring Back With A Swapped-Out (Story) Engine","datePublished":"2017-06-16T15:00:40.000Z","dateModified":"2024-01-12T03:31:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew Lapin","nprImageAgency":"Walt Disney Pictures","nprStoryId":"532302666","nprApiLink":"http://api.npr.org/query?id=532302666&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/2017/06/15/532302666/cars-3-comes-roaring-back-with-a-swapped-out-story-engine?ft=nprml&f=532302666","nprRetrievedStory":"1","nprPubDate":"Thu, 15 Jun 2017 17:00:00 -0400","nprStoryDate":"Thu, 15 Jun 2017 17:00:28 -0400","nprLastModifiedDate":"Thu, 15 Jun 2017 17:00:28 -0400","path":"/arts/13445621/cars-3-comes-roaring-back-with-a-swapped-out-story-engine","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\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>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13445621/cars-3-comes-roaring-back-with-a-swapped-out-story-engine","authors":["byline_arts_13445621"],"categories":["arts_74","arts_90"],"tags":["arts_1118","arts_596","arts_1900"],"affiliates":["arts_137"],"featImg":"arts_13445624","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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