Afleveringen
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How does art change the way we see and experience the world? Art has the power to offer transformative experiences, but what about the lives of artists who give so much of themselves? How can we balance creativity and personal well-being while still making work that is true and meaningful?
David Rubin (President of the Academy of Motion Picture Arts & Sciences 2019-2022 · Casting Director) discusses the importance of fostering an international presence for the Motion Picture Academy. He highlights how inviting filmmakers from around the world has enriched the community and emphasizes the power of collaboration in the filmmaking industry.
Later, he reflects on his journey in casting, the challenges younger people face in finding their niche, and the importance of patience and open-mindedness in discovering one's career path. Rubin highlights how negative experiences can also be valuable learning points.
Jericho Brown (Pulitzer Prize-winning Poet: The Tradition · Editor of How We Do It: Black Writers on Craft, Practice, and Skill) shares his process of writing poetry, emphasizing the element of discovery and the unexpected directions a poem can take. He shares his advice to young poets, how they should aim to create original works that could become lasting cultural touchstones.
Julian Lennon (Singer-songwriter · Documentary Filmmaker · Founder of The White Feather Foundation · Photographer/Author of Life’s Fragile Moments) reflects on the emotional highs and lows experienced by creatives. He discusses the significance of finding balance and happiness through artistic and charitable expression.
Sam Levy (Award-winning Cinematographer of Lady Bird · Frances Ha · While We’re Young) explores the art of cinematography. Levy underscores the importance of intention in every scene, whether it’s to highlight a character’s emotions or to convey the unspoken elements of the story.
Julia F. Christensen (Neuroscientist - Author of The Pathway To Flow: The New Science of Harnessing Creativity to Heal and Unwind the Body & Mind) discusses transformative experiences through art and literature. She explains how aesthetic emotions can lead to profound changes in perception and understanding, drawing from both personal and scientific insights.
To hear more from each guest, listen to their full interviews.
Episode Website
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“The question of who's good and who's bad is always front of mind for me because my basic goal is to get to the place where no one is good or bad; everybody is in an unspeakably complicated situation. From the very beginning of the series, this event happens. We believe that it was perpetrated by Iran. Fairly quickly, we learn through the relationships that have been built over time between our heroes, Kate and Hal, and people in other countries that they’ve negotiated with that the assumptions we're making are completely incorrect. In fact, the people we assume have some sort of malintent toward us are being falsely accused. Someone else is playing on the stereotypes we have of those people in order to send us off in the wrong direction.
I feel very fortunate that the medium I’m in is television, which is a very long form of storytelling. You're not telling a single story; you're telling a world. You're inviting people into a world and asking them to live there with you and these characters for a period of time. The best I can do is build a world where people grapple with these important questions and try their best. All I can expect from people and from myself is that we're trying to do something larger than ourselves.”
Debora Cahn is the Emmy-nominated showrunner and executive producer ofNetflix’s The Diplomat, a political thriller series starring Keri Russell and Rufus Sewell. She’s worked with television’s leading showrunners, including Shonda Rhymes, Terence Winter, Steven Levinson, and Howard Gordon. Her career began working on Aaron Sorkin’s The West Wing which has led to projects such as the hit Showtime series Homeland, ABC’s long-running medical drama Grey’s Anatomy, and HBO’s Vinyl, which was co-created by Martin Scorsese. She’s the winner of two Writers Guild of America Awards for The West Wing and FX’s limited series Fosse/Verdon and the 2023 Quincy Award for Responsible Statecraft.
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Zijn er afleveringen die ontbreken?
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What are the unseen challenges faced by diplomats, and what role do they play in maintaining global order? How do TV shows influence our understanding of real-world politics? How do women navigate power, and what does it take for them to lead in politics?
Debora Cahn is the Emmy-nominated showrunner and executive producer ofNetflix’s The Diplomat, a political thriller series starring Keri Russell and Rufus Sewell. She’s worked with television’s leading showrunners, including Shonda Rhymes, Terence Winter, Steven Levinson, and Howard Gordon. Her career began working on Aaron Sorkin’s The West Wing which has led to projects such as the hit Showtime series Homeland, ABC’s long-running medical drama Grey’s Anatomy, and HBO’s Vinyl, which was co-created by Martin Scorsese. She’s the winner of two Writers Guild of America Awards for The West Wing and FX’s limited series Fosse/Verdon and the 2023 Quincy Award for Responsible Statecraft.
“The question of who's good and who's bad is always front of mind for me because my basic goal is to get to the place where no one is good or bad; everybody is in an unspeakably complicated situation. From the very beginning of the series, this event happens. We believe that it was perpetrated by Iran. Fairly quickly, we learn through the relationships that have been built over time between our heroes, Kate and Hal, and people in other countries that they’ve negotiated with that the assumptions we're making are completely incorrect. In fact, the people we assume have some sort of malintent toward us are being falsely accused. Someone else is playing on the stereotypes we have of those people in order to send us off in the wrong direction.
I feel very fortunate that the medium I’m in is television, which is a very long form of storytelling. You're not telling a single story; you're telling a world. You're inviting people into a world and asking them to live there with you and these characters for a period of time. The best I can do is build a world where people grapple with these important questions and try their best. All I can expect from people and from myself is that we're trying to do something larger than ourselves.”
www.creativeprocess.info
IG www.instagram.com/creativeprocesspodcastimage credit: Netflix
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What does it mean to live a good life? How can the arts help us learn to speak the language of the Earth and cultivate our intuitive intelligence? What is the power of mentorship for forging character and creative vision? How can we hold onto our cultural heritage and traditions, while preparing students for the needs of the 21st century?
Alan Poul (Emmy & Golden Globe-winning Executive Producer · Director · Six Feet Under · Tales of the City · Tokyo Vice · My So-Called Life) shares his personal journey and the importance of mentorship in shaping one's creative path. He discusses his experiences with influential figures such as Stephen Sondheim, Paul Schrader, and Robert Wilson, emphasizing the value of learning from those you admire.
Rupert Sheldrake (Biologist · Author of The Science Delusion · The Presence of the Past · Ways to Go Beyond and Why They Work) explores the significance of cultural and religious traditions in education. He argues that knowing the open questions in science, integrating arts, and learning by heart are crucial for a well-rounded education.
Jericho Brown (Pulitzer Prize-winning Poet · Director of Creative Writing Program at Emory University · Author of The Tradition · The New Testament) emphasizes the power and agency that young writers have to create change. He encourages persistence and the importance of trying, despite the fear of failure.
Sy Montgomery (Naturalist · Author of The Soul of an Octopus · The Hawk’s Way · Of Time and Turtles: Mending the World, Shell by Shattered Shell) reflects on how animals have been her mentors and teachers. From her Scottish Terrier, Molly, to wild emus in Australia, she shares how her interactions with animals have guided her career and life choices.
Manuela Lucá-Dazio (Exec. Director of the Pritzker Architecture Prize · Fmr. Exec. Director of Venice Biennale · Dept. of Visual Arts & Architecture) discusses the necessity of reconnecting with cultural heritage and expanding educational tools. She advocates for a more imaginative approach to integrating different fields of knowledge and teaching methods.
Jeffrey D. Sachs (Economist · President of UN Sustainable Development Solutions Network · Director of Center for Sustainable Development · Columbia University) highlights the global consensus on Sustainable Development Goals (SDGs) and the critical importance of education. He specifically advocates for SDG 4, which focuses on inclusive and equitable quality education for all.
Todd B. Kashdan (Psychologist · APA Award-winning Author of The Art of Insubordination: How to Dissent and Defy Effectively · Curious? · The Upside of Your Dark Side · Leading Authority on Well-being, Curiosity, Courage & Resilience) analyzes the shortcomings of the current education system. He stresses the need to teach critical thinking and develop superior information-gathering strategies.
Tiokasin Ghosthorse (Founder · Host · Exec. Director of First Voices Radio · Founder of Akantu Intelligence · Master Musician of the Ancient Lakota Flute) offers a unique perspective on our connection to the Earth. He delves into Indigenous wisdom about living in harmony with nature, our ancestors, and recognizing the timeless energy around us.
Erland Cooper (Songwriter · Producer · Multi-instrumentalist · Composer of Folded Landscapes) reminisces about his upbringing surrounded by nature and traditional folk music. He shares how these elements have influenced his work and creative process.
Peter Singer (Philosopher · Author of Animal Liberation · Founder of The Life You Can Save) examines the core philosophical questions about living a good life. He discusses the principles of Effective Altruism and the importance of using our resources wisely to make the world a better place.
To hear more from each guest, listen to their full interviews.
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“Often when people write or make movies about romances with young adults, I think they are very flippant about it and don't take it seriously. But I think that those friendships and romantic relationships are some of the most important ones because they really set the stage for the rest of our lives. If your first relationship is incredibly toxic and damaging, it can take you years to figure out that that's not normal, and that that's not actually how relationships are meant to be.”
Meaghan Oppenheimer is a screenwriter, executive producer, and showrunner who tells stories driven by flawed, deeply human characters and the relationships between them. She’s behind Hulu’s drama series Tell Me Lies, starring Grace Van Patten and Jackson White and adapted from Carola Lovering’s novel of the same name. Her earlier projects include the 2015 film We Are Your Friends, starring Zac Efron as a passionate young DJ, and the 2018 drama series Queen America, set in Oppenheimer’s hometown of Tulsa, Oklahoma and starring Catherine Zeta-Jones. Season 2 of Tell Me Lies will premiere September 4th on Hulu. Oppenheimer is also currently developing the upcoming Hulu show Second Wife, to star Tom Ellis and Emma Roberts.
www.creativeprocess.info
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What is love? How do the friendships and relationships we have early in our lives affect us for years to come?
Meaghan Oppenheimer is a screenwriter, executive producer, and showrunner who tells stories driven by flawed, deeply human characters and the relationships between them. She’s behind Hulu’s drama series Tell Me Lies, starring Grace Van Patten and Jackson White and adapted from Carola Lovering’s novel of the same name. Her earlier projects include the 2015 film We Are Your Friends, starring Zac Efron as a passionate young DJ, and the 2018 drama series Queen America, set in Oppenheimer’s hometown of Tulsa, Oklahoma and starring Catherine Zeta-Jones. Season 2 of Tell Me Lies will premiere September 4th on Hulu. Oppenheimer is also currently developing the upcoming Hulu show Second Wife, to star Tom Ellis and Emma Roberts.
“Often when people write or make movies about romances with young adults, I think they are very flippant about it and don't take it seriously. But I think that those friendships and romantic relationships are some of the most important ones because they really set the stage for the rest of our lives. If your first relationship is incredibly toxic and damaging, it can take you years to figure out that that's not normal, and that that's not actually how relationships are meant to be.”
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
“As a filmmaker, I've always made films about extraordinary women whose lives are faced with extenuating circumstances who've had adversity thrown at them and who've risen to the occasion. And when I began to look at Diane's story, for me, Diane is a fashion designer, but she's so much more. Her central ethos is woman before fashion, and we felt it was very important to take that ethos and weave it into the spine of our film, and make it about the woman.
In making this film, every single person who we called whose voice we wanted to include wanted to contribute. They wanted to say something about Diane, because she had left such a mark on their lives. Our producers’ jobs, Tracy and Fabiola, was to juggle those schedules. How do you juggle the schedule of secretary Hillary Clinton with Oprah Winfrey? How do you make sure that Anderson Cooper and Mark Jacobs, you know, in the filming time that we had, that we could put all of these people together? But Diane's friendships run deep with people, and people made sure to make time.You know, she was a single mother, and I think that young single mothers watching this film will feel for Diane, especially single mothers who are trying to be entrepreneurs, and creating businesses, and trying to find their way into the world to be able to raise a family. To do that as an immigrant in a new country is challenging, and Diane shows you just how challenging it is. In making choices about living her life, in being with her children or expanding her business, there were sacrifices that were made, and those sacrifices are boldly put on the screen for viewers to watch.”
Sharmeen Obaid-Chinoy is an Oscar and Emmy award-winning Canadian-Pakistani filmmaker whose work highlights extraordinary women and their stories. She earned her first Academy Award in 2012 for her documentary Saving Face, about the Pakistani women targeted by brutal acid attacks. Today, Obaid-Chinoy is the first female film director to have won two Oscars by the age of 37. In 2023, it was announced that Obaid-Chinoy will direct the next Star Wars film starring Daisy Ridley. Her most recent project, co-directed alongside Trish Dalton, is the new documentary Diane von Fürstenberg: Woman in Charge, about the trailblazing Belgian fashion designer who invented the wrap dress 50 years ago. The film had its world premiere as the opening night selection at the 2024 Tribeca Festival on June 5th and premiered on June 25th on Hulu in the U.S. and Disney+ internationally. A product of Obaid-Chinoy's incredibly talented female filmmaking team, Woman in Charge provides an intimate look into Diane von Fürstenberg’s life and accomplishments and chronicles the trajectory of her signature dress from an innovative fashion statement to a powerful symbol of feminism.
www.hulu.com/movie/diane-von-furstenberg-woman-in-charge-95fb421e-b7b1-4bfc-9bbf-ea666dba0b02
https://www.disneyplus.com/movies/diane-von-furstenberg-woman-in-charge/1jrpX9AhsaJ6
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How can we free ourselves from fear and social barriers to live more fulfilling and meaningful lives? What does it take to overcome trauma and turn it into triumph, and failure into reinvention? How can we shine a light on the marginalized and misunderstood to create social change that transforms the lives of women?
Sharmeen Obaid-Chinoy is an Oscar and Emmy award-winning Canadian-Pakistani filmmaker whose work highlights extraordinary women and their stories. She earned her first Academy Award in 2012 for her documentary Saving Face, about the Pakistani women targeted by brutal acid attacks. Today, Obaid-Chinoy is the first female film director to have won two Oscars by the age of 37. In 2023, it was announced that Obaid-Chinoy will direct the next Star Wars film starring Daisy Ridley. Her most recent project, co-directed alongside Trish Dalton, is the new documentary Diane von Fürstenberg: Woman in Charge, about the trailblazing Belgian fashion designer who invented the wrap dress 50 years ago. The film had its world premiere as the opening night selection at the 2024 Tribeca Festival on June 5th and premiered on June 25th on Hulu in the U.S. and Disney+ internationally. A product of Obaid-Chinoy's incredibly talented female filmmaking team, Woman in Charge provides an intimate look into Diane von Fürstenberg’s life and accomplishments and chronicles the trajectory of her signature dress from an innovative fashion statement to a powerful symbol of feminism.
“As a filmmaker, I've always made films about extraordinary women whose lives are faced with extenuating circumstances who've had adversity thrown at them and who've risen to the occasion. And when I began to look at Diane's story, for me, Diane is a fashion designer, but she's so much more. Her central ethos is woman before fashion, and we felt it was very important to take that ethos and weave it into the spine of our film, and make it about the woman.
In making this film, every single person who we called whose voice we wanted to include wanted to contribute. They wanted to say something about Diane, because she had left such a mark on their lives. Our producers’ jobs, Tracy and Fabiola, was to juggle those schedules. How do you juggle the schedule of secretary Hillary Clinton with Oprah Winfrey? How do you make sure that Anderson Cooper and Mark Jacobs, you know, in the filming time that we had, that we could put all of these people together? But Diane's friendships run deep with people, and people made sure to make time.You know, she was a single mother, and I think that young single mothers watching this film will feel for Diane, especially single mothers who are trying to be entrepreneurs, and creating businesses, and trying to find their way into the world to be able to raise a family. To do that as an immigrant in a new country is challenging, and Diane shows you just how challenging it is. In making choices about living her life, in being with her children or expanding her business, there were sacrifices that were made, and those sacrifices are boldly put on the screen for viewers to watch.”
www.hulu.com/movie/diane-von-furstenberg-woman-in-charge-95fb421e-b7b1-4bfc-9bbf-ea666dba0b02
https://www.disneyplus.com/movies/diane-von-furstenberg-woman-in-charge/1jrpX9AhsaJ6
https://socfilms.comwww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
It is said that people never die until the last person says their name. In memory of the writer and director Paul Auster, who passed away this week, we're sharing this conversation we had back in 2017 after the publication of his novel 4 3 2 1. Auster reflects on his body of work, life, and creative process.
Paul Auster was the bestselling author of Winter Journal, Sunset Park, Invisible, The Book of Illusions, and The New York Trilogy, among many other works. He has been awarded the Prince of Asturias Award for Literature, the Prix Médicis étranger, an Independent Spirit Award, and the Premio Napoli. He is a member of the American Academy of Arts and Letters, the American Academy of Arts and Sciences, and is a Commandeur de l'Ordre des Arts et des Lettres. He has also penned several screenplays for films such as Smoke (1995), as well as Lulu on the Bridge (1998) and The Inner Life of Martin Frost (2007), which he also directed.
“But what happens is a space is created. And maybe it’s the only space of its kind in the world in which two absolute strangers can meet each other on terms of absolute intimacy. I think this is what is at the heart of the experience and why once you become a reader that you want to repeat that experience, that very deep total communication with that invisible stranger who has written the book that you’re holding in your hands. And that’s why I think, in spite of everything, novels are not going to stop being written, no matter what the circumstances. We need stories. We’re all human beings, and it’s stories from the moment we’re able to talk.”
We apologize for the quality of the recording since it was not originally meant to be aired as a podcast. Portrait of Paul Auster by Mia Funk, inspired by his novel 4 3 2 1.
www.penguinrandomhouse.com/authors/1045/paul-auster
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On casting Robert Downey Jr. in 4 Roles:
"That was Park Chan-wook's idea early on. In the book, there are these sorts of male-white figures of the American establishment. They're all differentiated in the book, but he had the idea. What if we have one actor playing all the parts kind of like Peter Sellers in Dr. Strangelove and immediately we thought that's a great idea. Robert Downey Jr.'s characters represent academia, intelligence in the military, entertainment, and politics. Even if they have opposing political ideas on the surface, there's something at the root that is working together. It's a kind of deep-state metaphor and - I don't want to give away the ending of the series - but it comes together in a way that feeds into The Captain's character, too."
"Casting of The Captain (Hoa Xuande) was very hard because it's really all from his perspective. The whole thing is on his shoulders. He's in almost every scene. And when he isn't, it's from his point of view, so he's a spy, you know, so he's got to be able to have that poker face. He's got to be able...it can't be on the surface. He's got to have a certain amount of control. So we had to have someone who was very emotional, but at the same time had a lot of control, who was very agile in a way, like the narrative of the book is, who is able to quickly change modes and at the same time sort of evoke the protagonists of American 70s action films, except from a Vietnamese side.”Don McKellar is a highly accomplished writer, director, and actor. He has written films including Roadkill, Highway 61, Dance Me Outside, The Red Violin, and Blindness. He won the Prix de la Jeunesse at the 1988 Cannes Film Festival for his directorial debut, Last Night, which he also wrote and starred in. He is an eight-time Genie Award nominee and a two-time winner.
He wrote the book for the acclaimed musical The Drowsy Chaperone, for which he received a Tony Award. Most recently, Don served as writer, executive producer, and co-showrunner on The Sympathizer, a television adaptation of Viet Thanh Nguyen's Pulitzer Prize-winning novel of the same name. The series was co-created with Park Chan-wook.
www.imdb.com/name/nm0001528/mediaviewer/rm2411273728/?ref_=nm_ov_ph
www.imdb.com/title/tt14404618/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%20sympawww.creativeprocess.info
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IG www.instagram.com/creativeprocesspodcastPhoto courtesy of HBO
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What are the stories we tell ourselves to justify our actions in times of war? How can the arts convey complexity and foster understanding?
Don McKellar is a highly accomplished writer, director, and actor. He has written films including Roadkill, Highway 61, Dance Me Outside, The Red Violin, and Blindness. He won the Prix de la Jeunesse at the 1988 Cannes Film Festival for his directorial debut, Last Night, which he also wrote and starred in. He is an eight-time Genie Award nominee and a two-time winner.
He wrote the book for the acclaimed musical The Drowsy Chaperone, for which he received a Tony Award. Most recently, Don served as writer, executive producer, and co-showrunner on The Sympathizer, a television adaptation of Viet Thanh Nguyen's Pulitzer Prize-winning novel of the same name. The series was co-created with Park Chan-wook.
"Casting of The Captain (Hoa Xuande) was very hard because it's really all from his perspective. The whole thing is on his shoulders. He's in almost every scene. And when he isn't, it's from his point of view, so he's a spy, you know, so he's got to be able to have that poker face. He's got to be able...it can't be on the surface. He's got to have a certain amount of control. So we had to have someone who was very emotional, but at the same time had a lot of control, who was very agile in a way, like the narrative of the book is, who is able to quickly change modes and at the same time sort of evoke the protagonists of American 70s action films, except from a Vietnamese side.”
On casting Robert Downey Jr. in 4 Roles:
"That was Park Chan-wook's idea early on. In the book, there are these sorts of male-white figures of the American establishment. They're all differentiated in the book, but he had the idea. What if we have one actor playing all the parts kind of like Peter Sellers in Dr. Strangelove and immediately we thought that's a great idea. Robert Downey Jr.'s characters represent academia, intelligence in the military, entertainment, and politics. Even if they have opposing political ideas on the surface, there's something at the root that is working together. It's a kind of deep-state metaphor and - I don't want to give away the ending of the series - but it comes together in a way that feeds into The Captain's character, too."www.imdb.com/name/nm0001528/mediaviewer/rm2411273728/?ref_=nm_ov_ph
www.imdb.com/title/tt14404618/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%20sympa
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IG www.instagram.com/creativeprocesspodcastPhotos courtesy of HBO
Susan Downey, Robert Downey Jr., Don McKellar
Robert Downey Jr. in The Sympathizer, photo by Beth Dubber/HBO
Hoa Xuande in The Sympathizer, photo by Hopper Stone/HBO -
"We ended on such a cliffhanger with Isaac presenting the wrench at the police station to Jeff Daniels' character. It allowed us to sort of start from a place of what's going to happen next? And I think because what is drawn in the novel and because of what Danny brought into the original script of the first season and all the ideas he brought in. The biggest thing we talked about was the relationship between Del Harris and Grace Poe and what is the ambiguity there? And I think when, when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it and then they go, Oh, he's a monster, or she's a monster. And then you just have this sort of a good and bad guy, good and bad woman narrative that is oversimplified all too often in our culture."
"It felt to me like a lot of the drive of season two is about payback. There are people who feel they're owed things. They want payback. There are people who feel like they have to get back at people because they've been wronged in some way. In a way, every character has something, some way that they're trying to right the wrong that was done to them or that they did in the first season. Jeff Daniel's character, Del Harris, is really driven by trying to right what he sees as wrongs that he did in the first season. And he's staying a little bit away from Grace because he doesn't know how much to blame her or how much were his own decisions or how much she kind of drove him to do things. So that was fun to explore."
Dan Futterman is creator, executive producer, and writer of Amazon Prime's American Rust, the acclaimed crime drama starring Jeff Daniels, Maura Tierney, and David Alvarez. Previously, Dan has written screenplays for Capote, Foxcatcher, In Treatment, and Gracepoint. He served as executive producer on The Looming Tower. Dan is also an actor, director, and two-time Oscar nominee.
Adam Rapp is the executive producer and writer of American Rust. He has written plays, films, and series, including Red Light Winter, The Sound Inside, In Treatment, Blackbird, The Looming Tower, and Dexter: New Blood. His latest novel is Wolf at the Table. He recently wrote the book for the new Broadway musical, The Outsiders.
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www.imdb.com/title/tt1532495/
https://outsidersmusical.com/
www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brownwww.creativeprocess.info
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What role do the families we’re born into or the traumas we experience shape the people we become? Do good deeds offset bad deeds? How can the arts increase our capacity for empathy, understanding, and kindness?
Dan Futterman is creator, executive producer, and writer of Amazon Prime's American Rust, the acclaimed crime drama starring Jeff Daniels, Maura Tierney, and David Alvarez. Previously, Dan has written screenplays for Capote, Foxcatcher, In Treatment, and Gracepoint. He served as executive producer on The Looming Tower. Dan is also an actor, director, and two-time Oscar nominee.
Adam Rapp is the executive producer and writer of American Rust. He has written plays, films, and series, including Red Light Winter, The Sound Inside, In Treatment, Blackbird, The Looming Tower, and Dexter: New Blood. His latest novel is Wolf at the Table. He recently wrote the book for the new Broadway musical, The Outsiders.
"We ended on such a cliffhanger with Isaac presenting the wrench at the police station to Jeff Daniels' character. It allowed us to sort of start from a place of what's going to happen next? And I think because what is drawn in the novel and because of what Danny brought into the original script of the first season and all the ideas he brought in. The biggest thing we talked about was the relationship between Del Harris and Grace Poe and what is the ambiguity there? And I think when, when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it and then they go, Oh, he's a monster, or she's a monster. And then you just have this sort of a good and bad guy, good and bad woman narrative that is oversimplified all too often in our culture."
"It felt to me like a lot of the drive of season two is about payback. There are people who feel they're owed things. They want payback. There are people who feel like they have to get back at people because they've been wronged in some way. In a way, every character has something, some way that they're trying to right the wrong that was done to them or that they did in the first season. Jeff Daniel's character, Del Harris, is really driven by trying to right what he sees as wrongs that he did in the first season. And he's staying a little bit away from Grace because he doesn't know how much to blame her or how much were his own decisions or how much she kind of drove him to do things. So that was fun to explore."
www.imdb.com/name/nm0001246
www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1
www.imdb.com/title/tt1532495/
https://outsidersmusical.com/
www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brownwww.creativeprocess.info
www.oneplanetpodcast.org
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What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?
Dustin O’Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola’s Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry’s “Into Me You See” from her album Witness and appears on Leonard Cohen’s 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.
"The film Lion, when we got involved, there was a pretty early cut. So it was about trying to get into the picture and what would really work with the scenes, but also to sometimes just put it away and just really get to the heart of the film, too, because there was a big overarching feeling to the film. The feeling of home and the feeling of being connected to your mother and this cosmic connection that was calling him to find her. So there was a moment of getting into really taking these bits that we'd been working on outside of looking at the picture and then making them work inside the picture, which is a lot of work. It's actually hard to kind of take something, and then you have to fit it into a box. Because film is a bit of a box. It has limitations, and there's time. It has to hit marks. When you're making music for yourself, you don't have to worry about that."
https://dustinohalloran.com/
www.deutschegrammophon.com/en/artists/dustin-o-halloran
www.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O’Halloran and Deutsche Grammophon
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
"The film Lion, when we got involved, there was a pretty early cut. So it was about trying to get into the picture and what would really work with the scenes, but also to sometimes just put it away and just really get to the heart of the film, too, because there was a big overarching feeling to the film. The feeling of home and the feeling of being connected to your mother and this cosmic connection that was calling him to find her. So there was a moment of getting into really taking these bits that we'd been working on outside of looking at the picture and then making them work inside the picture, which is a lot of work. It's actually hard to kind of take something, and then you have to fit it into a box. Because film is a bit of a box. It has limitations, and there's time. It has to hit marks. When you're making music for yourself, you don't have to worry about that."
Dustin O’Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola’s Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry’s “Into Me You See” from her album Witness and appears on Leonard Cohen’s 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.
https://dustinohalloran.com/
www.deutschegrammophon.com/en/artists/dustin-o-halloran
www.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O’Halloran and Deutsche Grammophon
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
"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 awareness in the industry, with acknowledging the injury from all those who came forward around the Weinstein allegations is the injury of when someone's coerced into doing something or that their career being threatened is emotional, psychological injury. It's really clear if you've got a stunt and someone's going to be jumping from roof to roof, they might fall down the cracks and break an ankle. Of course, the producers need to mitigate that risk and put in place everything so that the risk that you can perceive might happen is mitigated."
Ita O’Brien is the UK’s leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It’s A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures).
https://www.itaobrien.com/
https://www.itaobrien.com/intimacy-on-set-guidelines.html
https://www.imdb.com/name/nm1357677/www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
How can intimate scenes be brought to the screen in ways that respect the emotional well-being and privacy of the artists themselves? How do we make sure that we can create a story about abuse without anyone being abused in the process?
Ita O’Brien is the UK’s leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It’s A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures).
"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 awareness in the industry, with acknowledging the injury from all those who came forward around the Weinstein allegations is the injury of when someone's coerced into doing something or that their career being threatened is emotional, psychological injury. It's really clear if you've got a stunt and someone's going to be jumping from roof to roof, they might fall down the cracks and break an ankle. Of course, the producers need to mitigate that risk and put in place everything so that the risk that you can perceive might happen is mitigated."
https://www.itaobrien.com/
https://www.itaobrien.com/intimacy-on-set-guidelines.html
https://www.imdb.com/name/nm1357677/www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
"The character I wrote about in House of Sand and Fog was based on a former colonel and aeronautical engineer in the Shah's Air Force. I watched him work at a gas station. And on his days off, he'd put on his suit and look for better work. One night I'm helping him bring his groceries in, and he said in his thick Persian accent, "You know, I used to work with kings and presidents and prime ministers in my office by myself. Now, I'm serving candy and cigarettes to kids who don't even know who I am."
Andre Dubus III’s nine books include the New York Times’ bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin.
Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell.www.andredubus.com
www.andredubus.com/ghost-dogs
www.andredubus.com/house-of-sand-and-fog
www.andredubus.com/such-kindnesswww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
What can reading teach us about loss, healing, and survival? How can we transform anger into empathy? What can we learn from the creative act about turning personal setbacks into opportunities for self-discovery and growth?
Andre Dubus III’s nine books include the New York Times’ bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin.
Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell."The character I wrote about in House of Sand and Fog was based on a former colonel and aeronautical engineer in the Shah's Air Force. I watched him work at a gas station. And on his days off, he'd put on his suit and look for better work. One night I'm helping him bring his groceries in, and he said in his thick Persian accent, "You know, I used to work with kings and presidents and prime ministers in my office by myself. Now, I'm serving candy and cigarettes to kids who don't even know who I am."
"I did some acting in my 20s and 30s. It's an art form I really admire, but it's a sister art form where you are emptying yourself of yourself to become someone else, except you're bringing your humanity to whoever's point of view you're writing from, whether it's a man or a woman, someone from a different race or ethnicity or religious background. We all share far more than we do not, and so we have to find that common thread. It's ironic that you find more of yourself stepping into the private skin of another, but isn't that always also the case being a reader? We read from the points of view of other human beings, sometimes from cultures we've never even stepped into, and we find more of ourselves than we did before. It's the miraculous promise of literature."
www.andredubus.com
www.andredubus.com/ghost-dogs
www.andredubus.com/house-of-sand-and-fog
www.andredubus.com/such-kindnesswww.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast -
How would the life of Jesus be told through the eyes of his mother? How can literature help us understand history and the nature of identity?
Maciej Hen was born in 1955 in Warsaw. He graduated from the Cinematography Department at the Film School in Łódź. For years he has been trying his hand at diverse activities, from music to all fields of journalism and television lighting design. As a prose writer, Hen has published four novels so far: Według niej (2004, DUE; the English translation, According to Her, published in 2022 by Holland House Books, was shortlisted to the EBRD Literary Prize in 2023), Solfatara (2015, W.A.B., 2016 Gombrowicz Prize and shortlisted for the Norwid Prize and the Angelus Prize), Deutsch dla średnio zaawansowanych, Segretario and one non-fiction book, Beatlesi w Polsce (The Beatles in Poland).
"People often tell me that my way of telling stories seems cinematic to them. Well, if that's so, I'm really happy. I just describe a scene the way I see it in my mind's eye, and everything comes up ready to use: props, colors, lighting, movements, close-ups, wide shots, sound effects, music, and dialogue. But I don't realize that it's cinema. For me, it's just writing. I wondered who could be a better narrator of the story of Jesus than his own Jewish mother? When I was young, as a European Greco-Christian, I was aware of some of my Jewish history, but writing According to Her, I tried to imagine the issue of someone considered to be a Messiah or prophet by some Jewish followers. What could be the genuine story of something that really happened or was told? This led me to write a realistic novel about how it could have been."
https://en.wikipedia.org/wiki/Maciej_Hen
www.hhousebooks.com/shortlisted-ebrd-according-to-her
www.wydawnictwoliterackie.pl/autor/1271/maciej-hen
https://www.instagram.com/maciej.hen/
www.facebook.com/profile.php?id=100064871385361
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast - Laat meer zien
