Exploring American Rust: Broken Justice w/ DAN FUTTERMAN & ADAM RAPP - Award-winning Screenwriters/EPs

Exploring American Rust: Broken Justice w/ DAN FUTTERMAN & ADAM RAPP - Award-winning Screenwriters/EPs

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Award-winning Screenwriters · Exec. Producers · Directors
American Rust · The Looming Tower
Capote · The Outsiders musical

We're all culpable in some way of being both good and bad, being virtuous and also questionable at times in our own lives. And I think when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it. And then you just have this sort of a good and bad guy narrative that is oversimplified all too often in our culture. I think viewers will relate to this nature versus nurture versus DNA, raising all the questions of psychological and biological inheritance.

Creating Safe Spaces: ITA O’BRIEN & the Art of Intimacy Coordination - Highlights

Creating Safe Spaces: ITA O’BRIEN & the Art of Intimacy Coordination - Highlights

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Intimacy Coordinator · Founder of Intimacy on Set
Author of Intimacy On Set Guidelines

For years, people spoke about how awkward or embarrassing it was to perform the intimate content. And what they're speaking about is feeling horrible. If something's awkward, that squirm, that ring in the body, it feels embarrassing. That's actually an emotion that is not professional. That is not allowing the actor to stay feeling listened to, heard, empowered, autonomous. And so that they can just get on without any of those concerns and do their job to their best ability. And that's the awareness that we brought. So, we're saying, it is not suitable in our workplace for anybody to feel harassed or abused. 

Intimacy Coordinator ITA O’BRIEN on Normal People, Sex Education & Creating Safe Spaces

Intimacy Coordinator ITA O’BRIEN on Normal People, Sex Education & Creating Safe Spaces

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Intimacy Coordinator · Founder of Intimacy on Set
Author of Intimacy On Set Guidelines

For years, people spoke about how awkward or embarrassing it was to perform the intimate content. And what they're speaking about is feeling horrible. If something's awkward, that squirm, that ring in the body, it feels embarrassing. That's actually an emotion that is not professional. That is not allowing the actor to stay feeling listened to, heard, empowered, autonomous. And so that they can just get on without any of those concerns and do their job to their best ability. And that's the awareness that we brought. So, we're saying, it is not suitable in our workplace for anybody to feel harassed or abused. 

The Transformative Power of Writing with ANDRE DUBUS III - Highlights

The Transformative Power of Writing with ANDRE DUBUS III - Highlights

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NYTimes Bestselling Author
House of Sand and Fog · The Garden of Last Days · Ghost Dogs · Townie

All creative writing is that act of reaching for the pieces to put it back together again. And with the memoir, the essay, it's human memory. Your memory for your own existence. With fiction, it’s a dream world where you're reaching for the shards. Writing is a free fall into the writer's psyche, and if you want some clarity on what you believe, just write something sincere and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, what you think, what you fear, regret, and desire, etc.

Exploring Trauma, Healing & Redemption w/ ANDRE DUBUS III - Author of House of Sand & Fog

Exploring Trauma, Healing & Redemption w/ ANDRE DUBUS III - Author of House of Sand & Fog

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NYTimes Bestselling Author
House of Sand and Fog · The Garden of Last Days · Ghost Dogs · Townie

All creative writing is that act of reaching for the pieces to put it back together again. And with the memoir, the essay, it's human memory. Your memory for your own existence. With fiction, it’s a dream world where you're reaching for the shards. Writing is a free fall into the writer's psyche, and if you want some clarity on what you believe, just write something sincere and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, what you think, what you fear, regret, and desire, etc.

What does the future hold for our late-stage capitalist society with mega-corps controlling everything? - Highlights - KYLE HIGGINS, KARINA MANASHIL & KID CUDI

What does the future hold for our late-stage capitalist society with mega-corps controlling everything? - Highlights - KYLE HIGGINS, KARINA MANASHIL & KID CUDI

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Eisner Award-nominated Comic Book Author KYLE HIGGINS
Emmy-nominated Producer KARINA MANASHIL & KID CUDI on the Making of Moon Man

So, as we started talking and going through what this could look like. What a new black superhero in 2024 could look like? What would the threats be? What the world might look like if it's maybe not even five minutes in the future? I would argue it's like two and a half minutes in the future. And then what kind of really complex, emotionally layered journey we could put this character through?

Comics, Music, Ethics & AI: KYLE HIGGINS, KARINA MANASHIL & KID CUDI on the Making of Moon Man

Comics, Music, Ethics & AI: KYLE HIGGINS, KARINA MANASHIL & KID CUDI on the Making of Moon Man

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Eisner Award-nominated Comic Book Author KYLE HIGGINS
Emmy-nominated Producer KARINA MANASHIL & KID CUDI on the Making of Moon Man

So, as we started talking and going through what this could look like. What a new black superhero in 2024 could look like? What would the threats be? What the world might look like if it's maybe not even five minutes in the future? I would argue it's like two and a half minutes in the future. And then what kind of really complex, emotionally layered journey we could put this character through?

How does knowing a second language increase your creativity & humanity? - Highlights - ALAN POUL

How does knowing a second language increase your creativity & humanity? - Highlights - ALAN POUL

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Emmy & Golden Globe-winning Executive Producer · Director
Tokyo Vice · Six Feet Under · Tales of the City · My So-Called Life

I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from. 

ALAN POUL - Emmy & Golden Globe-winning Producer/Director - Tokyo Vice - Six Feet Under - Tales of the City - My So-Called Life

ALAN POUL - Emmy & Golden Globe-winning Producer/Director - Tokyo Vice - Six Feet Under - Tales of the City - My So-Called Life

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Emmy & Golden Globe-winning Executive Producer · Director
Tokyo Vice · Six Feet Under · Tales of the City · My So-Called Life

I think all great work comes from the need to say something. And so this is the challenge for young artists and also maybe one of the essential elements that can never be completely taken over by AI because there has to be something you feel has not been said, and you feel an urgent need to say it. In fact, you can't not say it. That need to express is what gives birth to unique expression, which is where all of our visual, performance, and creative arts come from. 

Highlights - JULIAN LENNON - Doc Filmmaker, Exec. Producer of Common Ground, Musician, Photographer

Highlights - JULIAN LENNON - Doc Filmmaker, Exec. Producer of Common Ground, Musician, Photographer

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Singer-songwriter · Photographer · Documentary Filmmaker
Founder of The White Feather Foundation
Executive Producer of Common Ground

I thought, wow, how are they going to bring this across in a way that isn't shoving things down people's throats? It's presenting information in a way that is creative, but also in a way that drives your curiosity into understanding, number one, why are we in the position that we're in? And number two, how can we fix this? What can we do to change all of this? And so, I initially got involved as an executive producer on Kiss the Ground, and I was blown away by how that film came out at the end. How well rounded it was, the flow of the film, the storytelling, and really feeding me information that I didn't even know previously. And so also watching that become a platform around the world was jaw-dropping. I mean, the fact that the belief and the understanding and the wisdom that came out of that project has touched so many hearts, minds, and souls around the world, that people are really single-handedly almost making change for the better around the world. Now, when Common Ground was presented, I did love that concept because Kiss the Ground had been very much a broad approach and about America, for the majority, really, and Common Ground was a much more...I mean, we're still dealing with the same subject matter obviously, but I think it felt great to come from a more personal aspect." 

JULIAN LENNON - Exec. Producer of Common Ground, Doc Filmmaker, Singer-songwriter, Photographer

JULIAN LENNON - Exec. Producer of Common Ground, Doc Filmmaker, Singer-songwriter, Photographer

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Singer-songwriter · Photographer · Documentary Filmmaker
Founder of The White Feather Foundation
Executive Producer of Common Ground

I thought, wow, how are they going to bring this across in a way that isn't shoving things down people's throats? It's presenting information in a way that is creative, but also in a way that drives your curiosity into understanding, number one, why are we in the position that we're in? And number two, how can we fix this? What can we do to change all of this? And so, I initially got involved as an executive producer on Kiss the Ground, and I was blown away by how that film came out at the end. How well rounded it was, the flow of the film, the storytelling, and really feeding me information that I didn't even know previously. And so also watching that become a platform around the world was jaw-dropping. I mean, the fact that the belief and the understanding and the wisdom that came out of that project has touched so many hearts, minds, and souls around the world, that people are really single-handedly almost making change for the better around the world. Now, when Common Ground was presented, I did love that concept because Kiss the Ground had been very much a broad approach and about America, for the majority, really, and Common Ground was a much more...I mean, we're still dealing with the same subject matter obviously, but I think it felt great to come from a more personal aspect." 

Highlights - ANDREW KLAVAN - Author of True Crime dir. Clint Eastwood - Don’t Say a Word starring Michael Douglas

Highlights - ANDREW KLAVAN - Author of True Crime dir. Clint Eastwood - Don’t Say a Word starring Michael Douglas

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Edgar Award-winning Author of The House of Love and Death
True Crime dir. Clint Eastwood · Don’t Say a Word starring Michael Douglas
Journalist & Podcast Host

I think that the modern sensibility and certainly the post-modern sensibility tells us that everything is self-referential. That if we have a certain feeling, it's because of our chemistry, it's because of our sexuality or urges that come within ourselves. But the older way of thinking is that we're in a relationship with a world that actually is reflected in our mind. And I think that that older sensibility is probably closer to the truth. It explains a lot more. It makes a lot more sense of things.

So every writer knows this, that he's not actually drawing so much from himself as some kind of literal inspiration, some kind of breathing into him that connects him, his own experiences, his childhood experiences, life experiences, his mental experiences with something that is very real outside him. And what he's trying to do in art, I think, is communicate that experience to other people in the only way possible. You can't describe it, you can't put adjectives into it. You have to dramatize it or paint a picture of it or write a song about it. That's the way human beings communicate the experience of being human.

ANDREW KLAVAN - Author of True Crime dir. Clint Eastwood - Don’t Say a Word starring Michael Douglas

ANDREW KLAVAN - Author of True Crime dir. Clint Eastwood - Don’t Say a Word starring Michael Douglas

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Edgar Award-winning Author of The House of Love and Death
True Crime dir. Clint Eastwood · Don’t Say a Word starring Michael Douglas
Journalist & Podcast Host

I think that the modern sensibility and certainly the post-modern sensibility tells us that everything is self-referential. That if we have a certain feeling, it's because of our chemistry, it's because of our sexuality or urges that come within ourselves. But the older way of thinking is that we're in a relationship with a world that actually is reflected in our mind. And I think that that older sensibility is probably closer to the truth. It explains a lot more. It makes a lot more sense of things.

So every writer knows this, that he's not actually drawing so much from himself as some kind of literal inspiration, some kind of breathing into him that connects him, his own experiences, his childhood experiences, life experiences, his mental experiences with something that is very real outside him. And what he's trying to do in art, I think, is communicate that experience to other people in the only way possible. You can't describe it, you can't put adjectives into it. You have to dramatize it or paint a picture of it or write a song about it. That's the way human beings communicate the experience of being human.

Highlights - DAVID BYRNE'S THEATER OF THE MIND - Stories of Impact - Nicholas Bruckman, John Tracey, Ian Moubayed

Highlights - DAVID BYRNE'S THEATER OF THE MIND - Stories of Impact - Nicholas Bruckman, John Tracey, Ian Moubayed

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Stories of Impact · People’s TV

Q: Who is David Byrne?
David Byrne: …I have no idea.

Most people know me through music, but when I was in high school I saw science and the arts as being equally creative fields. More recently, I just started taking an interest in how the brain works, and there's been this explosion of literature. As much as I love reading about neuroscience, I realize that experiencing some of the phenomena is just on a different level. I wanted to create an experience that shows us we're not who we think we are. Theater of the Mind is an immersive Science Theater project. With this show, I've tried to marry a narrative to the experience of different scientific phenomena that reveal how malleable our perception memory and identity really are.

DAVID BYRNE'S THEATER OF THE MIND - Stories of Impact produced by Simons Foundation & People’s TV

DAVID BYRNE'S THEATER OF THE MIND - Stories of Impact produced by Simons Foundation & People’s TV

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Stories of Impact · People’s TV

Q: Who is David Byrne?
David Byrne: …I have no idea.

Most people know me through music, but when I was in high school I saw science and the arts as being equally creative fields. More recently, I just started taking an interest in how the brain works, and there's been this explosion of literature. As much as I love reading about neuroscience, I realize that experiencing some of the phenomena is just on a different level. I wanted to create an experience that shows us we're not who we think we are. Theater of the Mind is an immersive Science Theater project. With this show, I've tried to marry a narrative to the experience of different scientific phenomena that reveal how malleable our perception memory and identity really are.

BENOIT DELHOMME - Cinematographer of At Eternity’s Gate w/ Willem Dafoe, The Theory of Everything w/ Eddie Redmayne - Part 1

BENOIT DELHOMME - Cinematographer of At Eternity’s Gate w/ Willem Dafoe, The Theory of Everything w/ Eddie Redmayne - Part 1

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Award-winning Cinematographer of At Eternity’s Gate · The Theory of Everything
The Scent of Green Papaya · Minamata
Artist Painter · Director

If you want to do your art well, you need to have some pleasure. If talking is not a pleasure, it's horrible. And when filming on a set is a bad experience, it's one of the worst things in life. As a cinematographer, if you can't make what you do personal to you, there is no soul. You need to make it personal. I certainly like a handheld camera, It's a bit like playing a saxophone. It's like the pace of walking or how I stop or I decide to go closer to the actor or to take more distance is so free. No one is telling me to go one step forward or one step back. I have to decide on the spot. So there certainly a freedom like a painter with a brush. It's nice because you have even the vibrations, your rhythms, the actor's rhythms. It's this dance.

Highlights - Actress CATHERINE CURTIN (Orange is the New Black) & Artistic Director KATE MUETH (Director, Educator, Choreographer)

Highlights - Actress CATHERINE CURTIN (Orange is the New Black) & Artistic Director KATE MUETH (Director, Educator, Choreographer)

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"I don't know why we would really want to tell stories without being connected to the meaning. And I think that's especially for women, but I do think for human beings, that is how we can work as hard and be able to get up the next morning and keep going. Because we are working through the meaning, and it feeds us as we're like making sense of it all, trying to make sense of it, and for being in community and communion.” - Kate Mueth
”What we've done today is we've made everything so fast and so easy that I think there's something to the creative process about it being a little bit more of an exploration than it is wham bam, it's done. Let's go have lunch. And I think there is something to the creative process where it's allowed to develop. It's called process because it is a process. I'm always glad to just relax in the creative process, and I'm always very grateful for that. I think it's why I do so much indie film because it's really fun.” -Catherine Curtin

Actress CATHERINE CURTIN (Stranger Things) & Artistic Director KATE MUETH (Neo-Political Cowgirls)

Actress CATHERINE CURTIN (Stranger Things) & Artistic Director KATE MUETH (Neo-Political Cowgirls)

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"I don't know why we would really want to tell stories without being connected to the meaning. And I think that's especially for women, but I do think for human beings, that is how we can work as hard and be able to get up the next morning and keep going. Because we are working through the meaning, and it feeds us as we're like making sense of it all, trying to make sense of it, and for being in community and communion.” - Kate Mueth
”What we've done today is we've made everything so fast and so easy that I think there's something to the creative process about it being a little bit more of an exploration than it is wham bam, it's done. Let's go have lunch. And I think there is something to the creative process where it's allowed to develop. It's called process because it is a process. I'm always glad to just relax in the creative process, and I'm always very grateful for that. I think it's why I do so much indie film because it's really fun.” -Catherine Curtin

Highlights - ARNOLD SCHWARZENEGGER: Athlete, Actor, American, Activist - Conversation with Editor DIAN HANSON

Highlights - ARNOLD SCHWARZENEGGER: Athlete, Actor, American, Activist - Conversation with Editor DIAN HANSON

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ATHLETE · ACTOR · AMERICAN · ACTIVIST
DIAN HANSON discusses photographic homage to ARNOLD SCHWARZENEGGER

Why I was different from all the other boys in my town I cannot tell you. I was simply born with the gift of vision.
– ARNOLD SCHWARZENEGGER

It's not just that he grew up in a rural environment too. He was born on July 30th, 1947. And most of us today don't have any understanding or relationship to what Europe was like right after World War II. The winter of 1946/1947 in Austria was the most brutal in decades. The people already had too little food. They were in an occupied country. The summer potato crops failed. As Arnold has said, his mother had to go from farm to farm to farm, begging for food to be able to feed her children. His father, like all the men in the village, was defeated by the war. And he saw them all physically, emotionally, intellectually defeated and taking it out on their wives and children, that he was beaten and his mother was beaten. All the neighbor kids were beaten, and they were beaten into a kind of placid defeat. And he alone would not accept that. He could not see that life for himself. And so he wanted out of that. And as a poor boy, he had nothing but his body to work with. That was it. There was not going to be any college. There was not going to be any of that. There was going to be some kind of menial job, or he could use what he had - his body - to get him out of there.

ARNOLD SCHWARZENEGGER: Athlete, Actor, American, Activist - Conversation with Editor DIAN HANSON

ARNOLD SCHWARZENEGGER: Athlete, Actor, American, Activist - Conversation with Editor DIAN HANSON

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ATHLETE · ACTOR · AMERICAN · ACTIVIST
DIAN HANSON discusses photographic homage to ARNOLD SCHWARZENEGGER

Why I was different from all the other boys in my town I cannot tell you. I was simply born with the gift of vision.
– ARNOLD SCHWARZENEGGER

It's not just that he grew up in a rural environment too. He was born on July 30th, 1947. And most of us today don't have any understanding or relationship to what Europe was like right after World War II. The winter of 1946/1947 in Austria was the most brutal in decades. The people already had too little food. They were in an occupied country. The summer potato crops failed. As Arnold has said, his mother had to go from farm to farm to farm, begging for food to be able to feed her children. His father, like all the men in the village, was defeated by the war. And he saw them all physically, emotionally, intellectually defeated and taking it out on their wives and children, that he was beaten and his mother was beaten. All the neighbor kids were beaten, and they were beaten into a kind of placid defeat. And he alone would not accept that. He could not see that life for himself. And so he wanted out of that. And as a poor boy, he had nothing but his body to work with. That was it. There was not going to be any college. There was not going to be any of that. There was going to be some kind of menial job, or he could use what he had - his body - to get him out of there.