Director · UNESCO World Heritage Centre
It's a very unique instrument. It has now 193 countries, which have ratified it. The idea of this convention is really unique because it is about heritage of outstanding universal value.
Director · UNESCO World Heritage Centre
It's a very unique instrument. It has now 193 countries, which have ratified it. The idea of this convention is really unique because it is about heritage of outstanding universal value.
Executive Director · European Environment Agency
I'm a deep believer in the values of democracy, human rights, and the system where civil society and people play a key role in the discussions about society and also assuming responsibility, whether it's through labor unions, youth organizations…I think one key solution at the level of society is more equality. More equal societies bring a lot of advantages. I think that is a critical component to building a sustainable society. We cannot pretend that the current distribution of wealth on this planet between countries and within countries is a fertile ground for longterm sustainability. It isn’t.
Executive Director · European Environment Agency
I'm a deep believer in the values of democracy, human rights, and the system where civil society and people play a key role in the discussions about society and also assuming responsibility, whether it's through labor unions, youth organizations…I think one key solution at the level of society is more equality. More equal societies bring a lot of advantages. I think that is a critical component to building a sustainable society. We cannot pretend that the current distribution of wealth on this planet between countries and within countries is a fertile ground for longterm sustainability. It isn’t.
Actress · Conservationist · Chairman of the National Endowment for the Arts 1993-97
I came to conservation as a lover of nature, as a young girl growing up outside of Boston, Massachusetts. We just had a tiny backyard. But I was enthralled by whatever lived there from a very early age. So I kept up with my love of nature all through life by the same path that I was also going on in theater for the most part. And later film. And conservation came out of my love for animals because it became clear in the 70s, about fifty years ago, that there were many species that were beginning their decline and continue to do so today.
Actress · Conservationist · Chairman of the National Endowment for the Arts 1993-97
I came to conservation as a lover of nature, as a young girl growing up outside of Boston, Massachusetts. We just had a tiny backyard. But I was enthralled by whatever lived there from a very early age. So I kept up with my love of nature all through life by the same path that I was also going on in theater for the most part. And later film. And conservation came out of my love for animals because it became clear in the 70s, about fifty years ago, that there were many species that were beginning their decline and continue to do so today.
International Outreach Citizens’ Climate Lobby
Coordinator, Senior Stewards Acting for the Environment
When I was in highschool, I recognized that climate change was going to be the largest problem facing my generation and future generations, and I couldn’t help but feel like there was nothing I could do in the face of such an impending problem. So I was actively looking at different organizations that I could become involved with that would help me develop the skills and knowledge I needed to be an effective climate advocate.
International Outreach Citizens’ Climate Lobby
Coordinator, Senior Stewards Acting for the Environment
When I was in highschool, I recognized that climate change was going to be the largest problem facing my generation and future generations, and I couldn’t help but feel like there was nothing I could do in the face of such an impending problem. So I was actively looking at different organizations that I could become involved with that would help me develop the skills and knowledge I needed to be an effective climate advocate.
Artist & World Traveler
When we moved back to Hawaii and lived on Molokai. I was teaching at the Kalaupapa Leprosy Colony, we had no money. And I was spearfishing, not for sport, but to get food for my family. And it was a beautiful time of our lives. We were so poor, but we were not poor. Poor is a state of mind. We were without money, but we were having so much fun.
Artist & World Traveler
When we moved back to Hawaii and lived on Molokai. I was teaching at the Kalaupapa Leprosy Colony, we had no money. And I was spearfishing, not for sport, but to get food for my family. And it was a beautiful time of our lives. We were so poor, but we were not poor. Poor is a state of mind. We were without money, but we were having so much fun.
Martin Ruhe is the internationally-acclaimed German cinematographer behind the Netflix film The Midnight Sky directed by and starring George Clooney. Previously, Ruhe worked on Catch-22, also directed by Clooney, as well as the critically acclaimed Counterpart, Run All Night with Liam Neeson, and the British Independent film award winner Control. Ruhe photographed the dark spy thriller Page Eight for BBC Films, directed by David Hare. The film earned him an American Society of Cinematographers Outstanding Achievement in Cinematography in Motion Picture/Miniseries Television Award for his work on the film.
Working closely with director Anton Corbijn, Ruhe photographed The American. Starring Clooney as an aging assassin on an assignment to create a specialized weapon, Ruhe’s meticulously arranged shots helped to build the tone of The American, while reviews applauded the film’s beauty. Ruhe lensed Harry Brown, a Michael Caine-starring vigilante thriller which premiered at 2009’s Toronto International Film Festival. His photography on Harry Brown received critical acclaim; Joe Leydon of Variety saying, “The moody lensing by Martin Ruhe vividly conveys the no-hope squalor of a contemporary urban wasteland.” Combining the best cultural influences from the U.S. and Europe, Ruhe is fluent in English, German and Spanish. He loves stills photography and travel.
MARTIN RUHE
The Midnight Sky is a film with big scopes. We have big vistas, we’re in space, we are on the moon, in the Arctic. Also, it’s a very intimate film because it’s a lot about connection, so we when we see people we get close to them and we feel intimate with them because we are literally with the camera quite close to them and looking into their faces. In this film, it helped that we went on 65mm. We shot on a large format. First of all we started that for the big landscapes, but I think it’s great also for faces because the face also becomes like a landscape.
❧
Early on in my career, I met a cameraman called Mike Southon. When I was working as a runner in London, on weekends I would try to go to shoots and see as many shoots as I could. Mike once told me our job would be. 10% is craft, 10% is talent, and 80% would be diplomacy. It’s actually interesting because quite often we caught in-between producers telling you, “Oh, you can’t have this.” Or, you have to do this. Or this is the framework. And then directors telling you, “I want to see the whole world at night.” And you go, “That’s a lot of money...” So, I think that’s one interesting thing I learned early on.
There are many people you meet along the way and you pick up things from them. I loved when I started working with Anton Corbijn. His photography is so…he mainly uses one lens. One camera. It’s not complicated, but he gets intimate with people in the way he is with them. That’s why his portrait photography is so stunning. Over the years, it’s relevant because he’s curious, he’s open, and he just allows things to happen. I love that. I love creative things.
Early on, I did some workshops with some of the great DPs like Robby Müller. And then you watch films, you read, you listen to what people have to say about them.
This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Bret Young. Digital Media Coordinator is Yu Young Lee.
Mia Funk is an artist, interviewer and founder of The Creative Process.
Find us on Apple Podcasts, Spotify, Google Podcasts, Podcast Addict, Pocket Casts, Breaker, Castbox, TuneIn, Overcast, RadioPublic, Podtail, and Listen Notes, among others.
Martin Ruhe is the internationally-acclaimed German cinematographer behind the Netflix film The Midnight Sky directed by and starring George Clooney. Previously, Ruhe worked on Catch-22, also directed by Clooney, as well as the critically acclaimed Counterpart, Run All Night with Liam Neeson, and the British Independent film award winner Control. Ruhe photographed the dark spy thriller Page Eight for BBC Films, directed by David Hare. The film earned him an American Society of Cinematographers Outstanding Achievement in Cinematography in Motion Picture/Miniseries Television Award for his work on the film.
Working closely with director Anton Corbijn, Ruhe photographed The American. Starring Clooney as an aging assassin on an assignment to create a specialized weapon, Ruhe’s meticulously arranged shots helped to build the tone of The American, while reviews applauded the film’s beauty. Ruhe lensed Harry Brown, a Michael Caine-starring vigilante thriller which premiered at 2009’s Toronto International Film Festival. His photography on Harry Brown received critical acclaim; Joe Leydon of Variety saying, “The moody lensing by Martin Ruhe vividly conveys the no-hope squalor of a contemporary urban wasteland.” Combining the best cultural influences from the U.S. and Europe, Ruhe is fluent in English, German and Spanish. He loves stills photography and travel.
MARTIN RUHE
The Midnight Sky is a film with big scopes. We have big vistas, we’re in space, we are on the moon, in the Arctic. Also, it’s a very intimate film because it’s a lot about connection, so we when we see people we get close to them and we feel intimate with them because we are literally with the camera quite close to them and looking into their faces. In this film, it helped that we went on 65mm. We shot on a large format. First of all we started that for the big landscapes, but I think it’s great also for faces because the face also becomes like a landscape.
❧
Early on in my career, I met a cameraman called Mike Southon. When I was working as a runner in London, on weekends I would try to go to shoots and see as many shoots as I could. Mike once told me our job would be. 10% is craft, 10% is talent, and 80% would be diplomacy. It’s actually interesting because quite often we caught in-between producers telling you, “Oh, you can’t have this.” Or, you have to do this. Or this is the framework. And then directors telling you, “I want to see the whole world at night.” And you go, “That’s a lot of money...” So, I think that’s one interesting thing I learned early on.
There are many people you meet along the way and you pick up things from them. I loved when I started working with Anton Corbijn. His photography is so…he mainly uses one lens. One camera. It’s not complicated, but he gets intimate with people in the way he is with them. That’s why his portrait photography is so stunning. Over the years, it’s relevant because he’s curious, he’s open, and he just allows things to happen. I love that. I love creative things.
Early on, I did some workshops with some of the great DPs like Robby Müller. And then you watch films, you read, you listen to what people have to say about them.
This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Bret Young. Digital Media Coordinator is Yu Young Lee.
Mia Funk is an artist, interviewer and founder of The Creative Process.
Find us on Apple Podcasts, Spotify, Google Podcasts, Podcast Addict, Pocket Casts, Breaker, Castbox, TuneIn, Overcast, RadioPublic, Podtail, and Listen Notes, among others.
Earthlife Africa is a non-profit organisation, founded in Johannesburg, South Africa, in 1988, that seeks a better life for all people without exploiting other people or degrading their environment. We want to encourage and support individuals, businesses and industries to reduce pollution, minimise waste and protect our natural resources.
Earthlife Africa is a non-profit organisation, founded in Johannesburg, South Africa, in 1988, that seeks a better life for all people without exploiting other people or degrading their environment. We want to encourage and support individuals, businesses and industries to reduce pollution, minimise waste and protect our natural resources.
Journalist & PEN Literary Award-Winning Author of Windfall
As a parent and especially through all this reporting, what I’ve tried to do is think through these solutions and these fixes we have for everything and make sure that we’re not forgetting…that we’re thinking about other people. Capitalism won’t do it. Self-interest isn’t going to do this for us. As silly as it is to think that empathy will do or caring about your fellow humans will do it, I don’t know what else there is to hope for. I don’t believe that people do stuff purely out of rational self-interest, this libertarian idea that I was quietly pushing against the entire time in Windfall. That we do things just for ourselves or just to make money–that’s not been the reality of my lifetime.
Journalist & PEN Literary Award-Winning Author of Windfall
As a parent and especially through all this reporting, what I’ve tried to do is think through these solutions and these fixes we have for everything and make sure that we’re not forgetting…that we’re thinking about other people. Capitalism won’t do it. Self-interest isn’t going to do this for us. As silly as it is to think that empathy will do or caring about your fellow humans will do it, I don’t know what else there is to hope for. I don’t believe that people do stuff purely out of rational self-interest, this libertarian idea that I was quietly pushing against the entire time in Windfall. That we do things just for ourselves or just to make money–that’s not been the reality of my lifetime.
National Geographic Explorer
National Science Foundation Research Fellow · Contextual Robotics Institute, UCSD
I’m grateful for the fact that through my work I’ve had a lot of opportunities to go to places that a lot of people just simply won’t ever get a chance to go. I like having those opportunities to try to share with people what that’s like. I honestly had no idea I would ever be here. I’m from a working-class background, didn’t have a huge amount of opportunities but now I can and that’s one thing that I particularly enjoy.
Antonella Wilby is a PhD Candidate and National Science Foundation Graduate Research Fellow at the Contextual Robotics Institute, UC San Diego, and a National Geographic Explorer. Her current research focuses on the development of autonomous underwater robots and vision-based algorithms for mapping and exploration of ocean environments, with the ultimate goal of better understanding and protecting our blue planet. She holds Master of Science and Bachelor of Science degrees in Computer Science from the University of California, San Diego.
This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Anna Iselli. Digital Media Coordinator is Hannah Story Brown.
Mia Funk is an artist, interviewer and founder of The Creative Process.
Carbon Ruins · Climate Futures · Climaginaries · Earth Systems Governance Project
Our starting point was that a lot of the stories we tell about future worlds are quite poor. It’s not stories that are meeting the world as it is now. It’s difficult for people to inhabit the kinds of worlds that we imagine through scenarios or modelling, so there is a kind of distance between where we are now and the life worlds of a decarbonized or a post-fossil world.
Carbon Ruins · Climate Futures · Climaginaries · Earth Systems Governance Project
Our starting point was that a lot of the stories we tell about future worlds are quite poor. It’s not stories that are meeting the world as it is now. It’s difficult for people to inhabit the kinds of worlds that we imagine through scenarios or modelling, so there is a kind of distance between where we are now and the life worlds of a decarbonized or a post-fossil world.
The Creative Process: Podcast Interviews & Portraits of the World’s Leading Authors & Creative Thinkers
Inspiring Students – Encouraging Reading - Connecting through Stories
The Creative Process exhibition is traveling to universities and museums. The Creative Process exhibition consists of interviews with over 100 esteemed writers, including Joyce Carol Oates, Hilary Mantel, Neil Gaiman, Viet Thanh Nguyen, Tobias Wolff, Richard Ford, Junot Díaz, Marie Darrieussecq, Michel Faber, T.C. Boyle, Jay McInerney, George Saunders, Geoff Dyer, Etgar Keret, Douglas Kennedy, Sam Lipsyte, and Yiyun Li, among others. Artist and interviewer: Mia Funk.
